Ars pictoria : or, An academy treating of drawing, painting, limning and etching : to which are added thirty copper plates expressing the choicest, nearest, and most exact grounds and rules of symmetry

■f

J-

ARS PICTORIA

O R A N

ACADEMY

TREATING OF

DRAWING,
PAINTING,

LIMNING,

AND

ETCHING.

To which are added

Thirty Copper Plates exprefsing the choiceft,
neareft and mod exact Grounds and Rules of Sy-
metry -, Colle&ed out of the moft Eminent
Italian, (jerman, and Sutherland Authors.

By eJ LEX*A?s(t>E% <B % 0 W J^E

Pra&itioner of the Art of Limning, and Published for all
Ingenious Gentlemen and Artifts.

LONDON,

Printed by J.Redmayne, for the Author, and are to be fold by him at his Lodging, at

the Sign of the ^ingel, the Corner of James /freer and Long i_Acre, and Richard

Tempfon at the Sun in Bedford ftreet, and ^Arthur Toeker at the Globe

in the Strand near the Nett Exchange, 1669.

To the Reader.

YOu have the Contents of this Treatife fo par*
ticularly in the Title- page, that I meant it no
other Tteface : But upon fecond thoughts , I
shall fay fbmewhat to the Conception a^cPaulm Lo*
matins, Page the i \th. touching the Affinity betwixt
Symetry and z5hfuficjue. It has been urged, that in re-
gard of the Obfcurity of the c5\dufical termes there
made ufe of; as Ditpente, 7)iapafon> Sefquiaher, &c. It
were requifite to give fbme explanation of them;
but 1 shall rather referr the Reader for his fatisfacti-
on to Merfennus, Motley > or any other writer upon that
Subject:; then enlarge this Difcourfe; which I have
contracted, both for his eafe and my own, as much
as I could conveniently. But if any ill temper'd
perfon should be angry at the hard words and Terms
of Art here, becaufo they do not well underftand
them: They may know this was not intended for a
Dictionary, but a Treatife only foL the ingenious,
who need no Key to lock or unlock this Cabinet, in~>
which thefeMyllerious terms aro couched. Nei-
ther- have I been ambitious in the lead of popular ap-
plaufe in the publication^ of this Piece, butmeerly
have aimed at the publique benefit, being ashamed it
should be objected 'that I who have in the courio of
my Life and Study been fo muchbeholding to others,
should prove ungrateful, orniggar, to conceal any
thing from the view of the world, fince we aro as
Men and Chriftians, all defigned by induftry and ex-
perience to improves each other; more particularly
what I have here wrote, is directed to the lovers and
favourers of all noble ScienceSj towhomlftand ob-
lieg'd, and whofc pardon I only beg, wherein-* I may
be found unhappily or ignorantly ofFenfive. And in-
deed I am extrcamly unwilling any perfon should lofe
time, or take the trouble of calling his eye here, were
not I modeftly of the opinion, fomething may not be
impertinent, or unworthy curious mens Lection.

lumyourhHrnblt Servant A.ti

In Laiidem Operofi Voluminis

ALEXANDRI BROWNE

Generofi. 6cc.

TAndem "Browne venis, expectatiffimus hofpes
Florilegas imitatus Apes 5 qui Sculptilis Artis,
Quicquidabexternispopulisexfuxeris, annis
Pluribus, in proprium prudensdifponisHymitton,
Et nunc in Patrii partiris commoda Mundi-
Quanta Poetarum praeconia dona morantur,
Quanta Patronorum Te ! Qui velamine dempto
Artibus, antiquum reparata luce Timantem
Afrlafti, & Britonum radiis melioribus orbem.
Quod fi %oma dabat pro digno munere ferta,
Civica, cui civem Bello fervaverat unum;
Debentur turn "Browne tuis quot ferta capillis !
Qui tot femineces artes in luminis auras
Duxifti, propriaquemanucadatanovafti
ArtificumiimulachraSenum. Jam Cous Alettes]
Praxitilefquecluens, StmagninominisUrbin,
Angelo & infignis, vifi rupifle fepulchris,
Et redi viva fibi TumpfifTe cadavera rurfus,
Aufpiciismi2?ro#7«?tuis. Correggio jamjam
EtDelvincentus, nee non Holbenus, ciaudax
Titian, et noftri Vandikus gloria fecli,
Dogma Pythagoricum,de fpontefatentur, & artes
Sculpendi pariter veterum,pariterque modernae,
In chartas migrafle tuas : ubi machina Mundi
EtnitidonaturaGlobofpirarevidetur
Principiis animata novis. I fortibus aufis
Dexter Alexander^multo et faelicior illo
Qui face lanquentem ferroque fubegerat Orbem*,
Alitibus procede bonis! nomenque per artes
Sic extende tuas , ut te primae va falutcnt
Teque hodierna fuum, venturaque fecla Magiftrumo

f. fisher dudum Miliums
Scrviens Major.

On my

INGENIOUS FRIENDS

Moft

EXCELLENT PIECE.

HSreyou may find objeBed to your Bye,
Taint, the creations, ManCjods I ma 'gry,
Wbatfcatter'd ray's of Heaven in us remain ,
zAre herepreferv'd, i f not renew' d again.
For who can draw to life the humane face
Do's therein [hew the intelieBual grace.
Whojefair I dea though it's not oppreji
With natures body, or Arts colour dre [I -t
From thence yet allthofe numerous Jhadow's floWi
Which men Jo Worfhip and admire below.
Fancy th' original, andparent, gives
This Art a birth, which beyond nature lives y
Andfyeps the Father youthful as the Jon,
With the fame colours, when complexions gone),
Death cannot part them -y for when ugly age
That (frand dejlroy ersy lafl and fatal page
Is all decipher' a, He a column [lands
Coeval to his heirs, and alibis lands.
fiAndwhen his body to the grave is fent
He ferves for furniture and monument.

?S(ature is troublefom in its decayes,
3\(o Toet cares to wear the wither 'd bayes.
'Tiskjndnejs, and 'tis manners to remote/
FFhenwecanneitberbebeloVdnorloye.
e5\s£ujl then all die? no, that the painters styll
Forbid 's, assisted with the Writers quil.

This immortality dear Friend you caufe*
Without ordaining, or repealing Laws,

Your'Bookadvances further, anddifplayes

What Tlutarcju's z5A/f orals, or his lives havefaid.

Weary Thilo/ophy expires inftrife

Whifft you expofe plain truth unto the Life.

2\(atures excefs, or narrownefsby you

I s cfoily reprovd, and aU that's due,

Ofbeautious art,and Symetry to manh

aSMuJl own its payment to your mind and hand.

We know no form of Angels but from paint,

J\(or difference make of devil, or of Saint.

The famous ^Michael Jngelo fo drew

Hell and the damned,andinfuch a hue-,

'Tinas thought th' Archangel fome old grudge might bear,

And hid bit namesake to renew the war.

Tu then hop 'd by the painter at the leaft.

He may a[siflant be unto the Trie fl.

Since Virtus lovely drawn, and vice foe ill

Sinners by him converted are 'gainjl will.

Emblems of honour, piety, and love,

Artsgreatejl teachers, by him only move.

J. H.

ERRATA,

In Pag the 4 Line. if. fork, Read us; for whofeevcver Read whatfoever. In Pag
17. line ij. for in, read and. In pag 7?. line 14. for Sonne, read fum. Inpag74.1ine
4. for near", read were. In pag 87. line 10. for keeping colour, read keeping the
colour. In pag 88. linen, for filvea, read filver. In pag 90. line 3. for ufc vrith,
read ufc it With. In pag 91. line 7. for white Scrus, read white or Serus.

OF THE

Vertue and Praife

O F

T \0T 0 %TiOJsQ, or, SYME<r%Y.

SUCH is the Importance^ and Vertuo of 'Pro-
portion, that nothing can any way fatisfietheEye
without the help thereof: So that whatfoever
worketh any Pleafuro or Delight^ in us, doth there-
fore content us 5 becaufethe Graco of Proportion con-
fitting in the meafure of the Tarts, appeareth therein $
Wherefore all the Inventions of Men carry with them
fo much the more Graco andBeautiej, by how much
the more Ingenioully they are proportioned, whence
Vitrwvius faith, That wbofoewr toiii proceed in bis Works "with
fudgment , mujl needs be acquainted tvith the !J\Qature and Force
of ^Proportion ; which being well and kindly under-
flood, will make him not only an excellent Judge of
ancient and late Workmen , but alfo an Inventor anet
"performer of Rare and Excellent A^mhimfelf

Now the Effects proceeding from Proportion are urn
fpeakable, the Principal whereof, is that Majeitio
andBeautio which is found m^odies^ called by Vi~
tmyius, Eurithmiaj And hence it is , that when
we beholda well-proportioned thing, wecallit!Bfr/#-
tiful, as if we shouldfay, Indued with that exa6t and
comely Grace, whereby all the Perfection of fweec
Ttelhhts belonging to the Sight, are communicated to
the Eye, and fo conveyed to theUnderftanding.

But if we shall enter into a farther Confiderationof
this2foz«/jy, it will appear mofi evidently in things ap-
pertaining to Civil Difcipline ; for it is ftrange to con-
fider what effects of Piety, Reverencoand Religion^

A are

2 OfProportion

are ftirred up in mens Minds, by means of this fuitable
comelinefs of apt proportion. A pregnant example
whereof we have in the Jupiter carved by Thidiasat Slis9
which wrought an extraordinary fenfc of Religion
in the People, whereupon the antient and renowned
Zeuxh well knowing the^ excellency and dignity
thereof, perfwaded </reecc_? in her mod flourishing
Eftate, that the Pidures wherein this Majefty appear-
ed were dedicated to grjeat Princes, and confecrated
to the Temples of the Immortal gods, fo that they
held them_> in exceeding great eftimation_j; partly
becaufe they were the Works of thofe famous M afters,
who were reputed as gods amongft men; and partly
becaufe they not only reprefented the Works of God,
butalfofupplyed the defects of Nature: ever making
choice of the Flower and QuintefTence of Eye-pleaf-
ing delights.

Neither yet is this Proportion proper unto paintincr
alone, butextendeth it felf even unto all other Arts,
infomuchasis drawn from mansBody, whichasthe
Painter chiefly propofethtohimfelf, ( as Vitmv'w not-
eth )fo doth the Architect much imitato it, in the
convenience of his buildings, and without which,
neither the Carver, nor any Handicrafts man can per-
forme any laudablo Work; becaufe it was the fir/I
pattern-* of all Artificial things : So that there is no
Art, but is fomeway beholding to Proportion: yet
notwithstanding the Painter as (Loo 'Baptijla Albertm
affirmeth) info much as he confidereth mans Body
more efpecially , is juftly preferred before all other
Artizans, which imitate the fame, becaufe antiquity
meaning to grace Painting above all the reft, Handi-
crafts men exempting onely Painters out of that num-
ber.

Of

or Symetry. j

Of the J\(ecefiitj and Definition of Proportion.

TT was not without-* juft Caufe, that the antient
-■■ (frteciam (at which time; the Art" of Painting had
fully attained to his Perfection, by the Induftry of
Timantes , Eufenidas± ojfri/lides > Eupompm , S 'icy on't as and
'Pampbilus , the Famous Macedonian Painter, and Ma-
iler of Jpelfef, whoalfowas thefirft learned Painter
directing his Workes by the Rules of Art, above any
of his Predeceffors, and well confidering that what-
foever was made without meafuro and proportion,
could never carry with it any fuch congruity as
might reprefent eitherBeauty or Grace to the ju-
dicious beholder) were wont to fay, that it was
impoflible^ to make any tolerable, much lefs any
Commendable Picture, without-* the help of geo-
metry and <tArithmetic\j wherefore they required the
Knowledge thereof, as a^ thing mod neceffary,
which faying was alfo approved by "Philip tZMacedo.
And furely it is impofTible(toomitt the meere Ar-
tizans) that he who is ignorant-; of thefe two Sci-
ences , should underftand the exact meafure and
proprotion of any probable or true Body , the ne-
ceffity of which proportions shall be shewed here-
after.

It is apparent then_-» that a Picture lacking this,
is like a piece of Marble grofly wrought, without
Rule or Meafure, or two Columns : which al-
though they be to (lender, ortogrofle, to short or
to long, yet are called Columns ,- asDwarfesand
deformed Creatures are named Men. Now this
Book shall contain the general proportions of the
principal things alone, from whence the reft are-
derived, of which before I begin tofpeak, / bold

A 2 ft

4 Of Proportion

h convenient to confide/ the definition of proportion, and the parts
thereof-,

Proportion is a correfpondency and agreement
of the Meafure of the parts between themfelves and
with the whole, in every Work, this correfpon-
dency is by VitruVms called Commodulation, be^
caufe aModell is a Meafure which being taken at
the firfl meafureth both the parts and the wholei
And this is that ( to omitt the feveral kindes there*
of, which shall be diftinguished in their due place, )
which for fo long fpace having been loft, was the
caufe why the exact and true proportion of Mans
Body was not underftood, by Occafion_> whereof
there never came any Excellent Peeces abroad, al-
though the matter were never fo coflly .* Andcon-
fequently that the Painters being ignorant of that
they had in hand , inftead of proportionable men
made lame Pictures as the Architecture, Temples,
Images, and Pictures made throughout-' the whole
World (but cfpecially in Italy) about the timo of
ConJlantin<^j> the Great > untill (fiotto in Tufcany, as
^Andrino di Sdefia^T^auef^jinLombardy can funic iently
witnefs, and this ("in 2u word) is that, the know-
ledge whereof ib fatisfieth the judgment, that it-/
maketh it not onelyableto makowhofoeven. we
lift, but alfo teacheth us to judge of Images, and
Pictures, as wellantient as new, and without^ this,
a-jPainterfbefidesthat he is not worthy thenamo
of 2u Painter )islike one which perfwadeth himfelf
he fwimmcth above "Water, when_, indeed he fink*
eth, to conclude then it is impofllble to make any
decent^ or well proportioned thing, without^ this
Sy metrical meafure of the parts orderly united.

Wherefore my greater! endeavour shall be, to
lay ©pero the worthinefs of this part of painting

unto

or Symetry. J

unto all fuch as are naturally inclined thereunto, by
reafon of a good temperature joyned with an apt
Difpofkion of the parts thereof, for fuch men Will
be much affected therewith , to the end they may the
better perceive the force of d\(ature: who by indu-
flry and help of a good conceipt, will eafily attain
to fodeepareach, that they will be able upon the
fudden to difcerrLj any Difproportion , as a thing
repugnant-* to their CSQiture: unto which perfection
on_> the contrary Side they can never attain, Vvhofe
Judgements are corrupted through the <Di(iemperature
of theirs Organkal parts, I fpeak of fuch who not
knowing the virtue of proportion , affect nothing
elfe, but the vain furface ofparilb colours, wrought after
their own humour, who prove only -Dawbers of Ima-
ges and Walls throughout the whole World; moving
the beholders partly to fmile at their Follies , and
partly to greivethatthe Art should be thus difgraced
by fuch abfurde Idiot\: who as they have no judge-
ment herein; fo do they run_j into divers other moil
shamefull errors, into which I never heard that any.
ever fell, who were acquainted with the "Beauty of
proportion , but have rather prooved men_j of rare
Spirits and found Judgements, as may be gathered,
by the great requeft it was in , untill the times of
thofe Princes , as well antient as late : 'But before I
proceed any farther , / thin\ it necejfary to treat [omething of cu*
Head /'// particular, Firfli

Of the Head in Trophile or fide-way es.

>T,He manner to make this Head by juft and fafe rules
■* is thus, Firft forme a perfect equall Triangle
in what pofition you will, turning the Triangle to
make the Face upon_j one of the three fides, be it

B which?

6 Of Proportion

According,,," which it will , either upwards or down*
£** f> wards , higer or lower s dividing that fide
into three equall parts, the one to ferve from the
lower part of the Haire, to the lower., part of tho
Forehead -y the Second thenco to the under pare of the
Js(j>Jlrih'y the Third to the lower part of the Qbirmz
now having framed thefe three lines, drawalittlo
crooked ltroak with a £o/e or QmH+ out of the right
Line , that may reach from^ the top of the Forehead
unto the Eyebtov>, from whence draw away the (lope
Line, bending at the end. Toperforme the J\(ofe,
either long, short, grofs or thin, as you would
have it, ending that at the fecond diftance, where
the Z\(ojlrih end, then fubdivide the remaining third
part in the midft, where the zfMouth shall be placed
for the parting of the upper and under Lipps, then-»
frame the Qhinn, having a refpect to the perpendi-
cular Line, thatitfall not out of the middles of the
Q)\nns adjoyning thereto the finder Chinn down-; to
the Throat-pit. So with the other two dividing lines,
the one from_> the Top of the Forehead downwards
(and ends in the midft of the back part of the Ear h)
the other proceedeth upwards from the Chinn, alien-
ing till that meet with the Superiout-, defcending
Line, whofe Interfedtioro dire&eth the Earc, that
the circumference thereof ftretch not too far : Thus
with your judgement take the upper part of the Fore-
head, and come to defcribo a great circular Lino
about, to Form with that the roundnefsof thcHead,
unto the Nape of the 3\(ecJ^y keeping the propor-
tion^ that 3\Qiturc^ teacheth; and from thenco
downwards frame the reft of the J\(eck^ remembring
that the Tip of the Eare doth not exceed the lower
part of the 3\(ojlril, So yon may fox»o th« Head in "what

T'oftion

or Symetry. f

Tofition you "will, fo this abandon not the wo other Lines, each
concurring in their due points.

Of the Foreright Face.

BEing then defireous to draw the Foreright Face^
it will beneceffary to Forme a perf eel: Ovall, which
being made* divide it in the midft, with aline the
longed way ( that is to fay J) a perpendicular line ,
divide this line into three equall parts, allowing a_>
fourth of one of the three parts for the Hair in the
Forehead, theFirft fortheForefoW, the Second for the
j\(ofe , the Third for the £fe In the midft thereof
muft the zSMouth be formed, alwayes remembring
thatthe£jywmuftbeinoneline, thecrofs line of the
&fofe and alMouth muft alwayes be correfpondenf
to thecrofs line where the Eyes are placed; and the
Byes muft be the length of one6>^ diftanr from tho
other 5 and that their inward Corners be perpendicu-
larly over the out-fide of the Nojlrils punctually, but
to mako the Fares in a_> Foreright" Face proportio-
nable, they muft be much Foreshortned by Fore-
shortning, I mean when.; the Eye doth nor fee the
full Latitude of it, the proportion of the length of
the Earei to be from the Syebroms to the bottomo of
the No/Zri//, and then joyn the N^ with the Hair in^
fuch fort as may feem moft pleafint unto the Bye,

OftheHeadin ^orefhortning;

Itherto I have treated of the Head, both Foreright
and in other Pofitions, but that you might
know all that is needfull for the perfeel underftand-
in^ of this profeflion, it is neceflary that I fpeci-
fkTthe manner how to draw theF^e by an eafy, ab<

B £

H

8 Of Proportion

folute and fair way; Treating thus I propound id
you Methodical means therein 5 becaufe my intent
is to Facilitate the matter in thatmanner, butwith-
out writing thereupon it may be intelligible^, fori,
a draughts well made hath that power , that it makes
itfelf underftood without" any difcourfe of the Au-
thor thereon, but I alwayes obferve both the one^>
and the other alfo ; I fay that the forejhoming which
is mado onely withFmfr, (prates, Squares, or with
geometrical Instruments, breed onely a confufion of
lines, which is not the bell: principal of expert" In-
genuity, the reafon whereof is, that it can hardly
be meafured by any Rule, unlefs the whole Body be
framed together, therefore I mil (hew an eafy ^ulet very
lil^e to that oftheforerightV^c^j, that u , to mak§_j a Circular
draught with the afyetl upwards , or downwards, as in the foreright
Head, "where the Trayerfe lines ar^_j> Jlraight , but the fe go Cir~
cularfy, for if the Heads flye upwards the Traced Jlro\es and the
T>ivifions mu/l be raifed, with caution that tht_j> Eares and Eyes
fallnotout of their due points, asis/ignifiedinthefir/lT/ate.

Of the fide face without any Meafure.

T)Eing defireous to make the fide y»«? without any
*-* Triangle or Meafure, which with a littlo care
and practice, obfervingthe diftances andMeafurcs
which will ferve for Direction, becaufe the Head
and other parts of the Body oughts to be proportio-
nal, and made from_> Meafures } it will eafily fol-
low, Framing ol Traceing many, you may not"
only Facilitate it by the Bye and Judgements, but
alfo accommodate the Hand, to Trace and draw, all
things right, for it is true that the £y will have its
place. I having drawn certain^ flroaks or draughts

from

or Symetry, g

from the life ofnature, and reduced it with the Pencil
into Colours, have found it como off piin&ually
right, of a correfpondenr_> bignefs to thac; which
I have imitated, and have not found any thing dif-
proportioned > but have alwayes found it fall out
right as I would havo it, therefore I fay that this
Rule, and Meafure which I have fet down, in the
Torphile or other opofitions of the Head,is not any hin-
drance to the excellency of the Art, nor will weak-
en your worth; but will ferve for^ a general Rule
being once poffeft therewith, and alfo become pre-
valent when occafion_» shall require, to make a Head
Ten times as big as the Life ; for that with this
Meafure , you shall readily Frame it right by any
crreat Head\ and thaL~> becaufe^ the underftanding
therein is equally extended, but the more the capa-
city is wanting, the more my Labour will farthers
when_j heed requireth. ^hefe then 1 give as Trincipal for
the firH ftroakgs, as in the next figure may he percefred, 'which is
fronuthe Forehead, as I have already faid, for the beginning
of the Nofe ; that is from-> the lower part of the Hair, to the hoi-
lotonef of the Nofe and the Noftrils 3 and from-, thence to the
Chinn.

Several Obfervatiomy in drawing a-> Head after the Life.

■

ANd becaufe the greateft difficulty, and principal
parts of this Art confift infome part in drawing
the lively Refemblance of a Face, therefore I thought
it very neceffary to add this as a_> further Dire£tion_>
to draw any 'Pace after the life. Therefore if you will
draw any tace after the life, that it may refemble the
party you draw it after-, take notice in the Firft place
of the Thyfiognomy or circumference of thcllace, whi-
ther it be round or long, Fat or Lean* Big or Little;

G ft*

to Of Proportion

fothatin theFirft place you mud be fureto take the
right Thyfiognomy and bignefs of the Face, and in cafe
itbeaFar'^ce,you will perceive the Cheeky to make
the fide of the Face to fwell out, and fo make the Face
look as if it were fquare : And if it" be neither too
fat nor too lean, it will be round for the molt parr";
but if it be a learp Face the fa»-<Bones will ftick out,
and the Cheeky fall in, and theF^cO will be long and
Mender,, oblerve when_>you draw the outmoft cir-
cumference of a face, to take the Head and all with
it, or otherwife you may be deceived irt-j drawing
the true bignefs of suFace, then you mufl diligent-
ly and judiciouflyobferveand difcernall the Gentle
zfJlfafter Touches, which gives the Spirit and Life to
a Facey and diicovers the Grace ol Difpofition of
the eSWind, wherein lieth the whole Graces of the
Work, and the Credit of the aJfrtift, youmayeafj-
ly difcern-j a fmiling Countenance in the Corners
of the z5\fouthy when they turn up a little; you may
bed difcern a flaied and fober Countenances in the
Eyes, when the upper Eyelids comes fbmewhat over the
Balls of the Syes, but a frowning Countenance is e-atl-
lydifcernedintheFore^W by the bending of the Eye-
broker, and fome few wrinkles about-; the top of the
3\£o[e between the two Eyebrows , and a_> laughing
Countenanco is eaflly decerned all over the Face,
but an angry Countenance is difcerned by extraor-
dinary frowning; there are alfo fome touches about
the Eyes and Mouth which you muft diligently obferve,
which gives the Spirit-* and L ife to a Face.

The 'Proportion of a Man of Ten faces.

IT ftandeth with good reafon, that( following the
Method of the Antieat-> Cjr<ttim)l should make

this

or Symetiy; \[

this Body, whofe proportion^ I intend to handle
particularly, anfwerable to the Symetry of all others
Artificial Bodies, which may be made farn. more^
Beautifull, then_> Stature affordeth any; wherein^
notwithstanding the whole Symetry of Art" may be
comprehended moreorlefs; and this Point" I mean
to handle in this Chapter and the next, wherefore
I have prefixed this before the reft, becaufe it is, as
it were the Foundation of thern^ all. This Figure
then is Firft divided into Ten farts or faces : the Firft
whereof (I mean in length ) beginneth at the top of
theHead, and reacheth to the root^ of the 3\(oHrils :
the Second from thence to the Throat-pit : the Third
thence to the parting of the "Breaft : the Fourth thence
to the J\(avile: the Fifth thence to the Trinities, which is
juftthe middle of the length of the Body ,from thence
to the Sole ofthcFoot are Five Faces, whereoftwolye
between the Trivities and t\\cz5Mid-Kjiecs, the others
three betwixt that and the Sole of the Foot. Thm ac-
cording to thu T>iVtfion allthefe Tarts are email.

Now the firft Part from_» the Top of the Head to
the y^ofe, anfwereth to the fpace betwixt" that and
the China 9 in a triple proportion^ which maketh a
Diapente and a T>iapafon) that beneath the Chinri, and the
Throat-pit anfwereth to that betwixt the ^o/eandthe
Chinn in a double proportion f which makes a T>tapa[on)
whereunto tho Head anfwereth in the fame According,o
proportion^ the Thvcc faces ( between th o *«-**>v^
Throat-pit and the Trtiities anfwereth to the Second be-
twixt them and the ^w^^f^/terproportionjWhence
arifeth a Diapcnte , but with the Leggs they are Vnifont
for it hath the fame proportion with the Thigh.

Now the breadth of this Body confifteth likewife
of Ten faces ; namely between the- extremities of
both the rniddlo fingers , when the <tArmes are fpread

C 2 abroad

i2 Of Proportion

abroad, and is thus divided; Oneto the thrift of the
Hand, one and a half to the Elbow, fo much to the
Qavicolce or joy nt of the Shoulder, and one to the Throat-
pit, fo that only the Hands are Vnifons, with that be-
tween the Shoulder- foynt and the Throat-pit, and tho
fpace between^ the Shoulders and the Elbow, with that
between^ the Elbow and the JVrijl ; fo that thefe an-
fwer to each other in a Sefquiaher proportion called a
Diapente ) again a _/*« is as much as the diftanco
between-* the Hopples, and fo much more frorn^
each of them to the; Throat-pit, making art Squattier
Triangle.

The compafs of the Head from the Eyebroms to the
^(ed^ behinde is double to the length of the whole
Head , the circumfe renco of the JVajte is 2u> Triple
Scfcjuialter to the "Diameter thereof? and is all one with
the Trunk of the Body, which is three Faces , the
circumference of the Body under the <*Arm-pits, and
the fpaco between them and the VVrijt anlwerin_>
a_* double proportion, and is all one with any half
of the Body.

The Meafiires which zreVnifon or all one, and
equal I between themfelves, are thefe: Firftthe fpace
between theC/;/>wandthe throat-pit,- is as much as the
"Diameter of the ZN^eck} the circumference of the ^{ect^
is as much as from the Throat-pit to the 3\QiYde, the
Diameter of the FFafle anfweretli tothe'diitance be-
tween the Kjiobbe of the Throat and the top of the Head,
and this is the length of the Foot, the fpace between
the Eyelids and the Noftrils is all one with that betwixt/
the Qomn and the Throat-bone, again from the No/eto
the Chinn, is as much as from the Throat-Hone to the
Throat -pit, moreover the fpace from the hollow of
the Eye below, andfromthe Sye-brow to tho Center
of the Eye, is the famo with the prominency of the

Noftrilfy

or Symctry. i|

&(ofiriisi and fo much it is between the TSqftrih, and
the end of the Vpper Lip ibthat thefe three (paces be
equal, befides the diftance between^, the top of the
Nai/e of the Fore-finger and the laft Joy nt thereof, and
from thence to the FFri/iare equal!, again the fpaee
between the Naile of the Middle Finger, and the laft
Joynr' thereof ; and from thence to the Vr/rijl is all
one, the greater Joynt of the Fore- finger, is the height
of the Fore-head^ and the fpace between that Joynr"
and the top of the ^(atlei iscquall to the V\(oJe, be-
ginning at the bottomo of the mod eminent Arch
above the Eyes, where the Fore-head and the J\(ofe a ro
divided , the two frill Joynts of the Middle Finger,
are equall to the fpace between the -<^(oft_^ and the
Chinn, the fir ft Joy nt whereon the JsQiile grow cth; is
the diftanco between the No/e and the *5M.outbs fo
that the fecond Joynt anfwereth to the Firft inaSef-
quiaher proportion, as alfo doth the fpace between^
the z5\Fouth and ths Chinn, (whence arifeth the Conj
cord Diapente ) the bigger Joyntr of the Thumb giveth
the length of the zfAfouth, the fpaco betwixr" the
top of the (Jnmi) and the Dint under the Lonper Lip ±
anfwereth to the lelTen, Joynt of the Thumb , and is
as much as from_> thcNofe to the fameDintJ, where-
fore from the greater Joynt there is a Sefquiaher propor-
tion and a Concord (Diatefferon ) the laft Joynt of each
Finder, is double to the length of the Naile, and make-
cthaZ)w/w/0»from themiddft between^ the Eye-hroios
to the outward Corner qf the Eye, is as much as from
thence to the Bare, the heighthof the Fore-head, the
length of the No/f, andthelength of the *5\4outh are
( Vnifons ) the breadth of the Hand and Foot are all one,
the length of the Foot in refpe6tof the breadth make-
cth a double ( Supra hi partient, and a Diapajon and a T)id-
teferon.) 4

D The

i4 Of Proportion

The breadth of the Foot to his height at the hiftep,
makes a ( Se[quiaher and a DiateJJeron ) the breadth of the
Hand is double to theheighth, the Arches of the Eye-
brows, areequall to the Arch of the VpperLip, at the
Divifion of the zIMouth, the breadth of the J^ofe and
thesis all one, and either of tr^em half the length
of the nofe, the navile is the midft betwixt the twfe and
the Ifyiee, from the top of the Shoulder to the Elboiv, and
from thence to the Hand, is a T>iate(feron , the fpaces
between the lower_,endof the Eare, and the JoynL->
of the Shoulder, is half as much as the breadth of the
'Breajl at the Shoulders, which maketh a double Scfquiaher
the whole breadth of the Body to the fpace between
the top of the Head, and the Throat-Bone makes a Qua-
dmple proportion ; w hence arifeth a T>ifdiapafon, the fame
proportion hath the Cubit, or lower Part_» of the Arme
from the Elbtm to the top of the Middle Finger, with
the breadth of the Body, by the zArmes fpread abroad
the breadth of theF W%i is double to the Thigh or a_>
Diapafon, the length of a z5\4.an isallon?_j Jvith his breadth.

The breadth of the ^ack^ at the zArme-pits ; of the
Hippes at the "Buttocks , and of the Leggszt the K^nees, in
refpecl: of the Solesof the "Feet, make a triple (Sefqui-
tenia) the like is from the fpace of the Head to tho
tBrea/l-pit : the Diameter of the Head at the Forehead, to
the depth thereof, ( that is between-; the Syes, and
the Nape of the Head ) is a Se/quioEtava : whence arifeth
a Tone , the circumferences of the Fore-head at_>
the Temples, is a. Quadruple to his heigth, or zDiapa-
[on, theheighth of theVace, and the fpace between-*
the Chinn and tfye Throat -"Bone, makes a triple propor-
tion^, oraD iapafon, and Diapente.

nAnd thus if Kvefliould proceed, toe might finde in the Head
all the other proportions of the fmallejl Tarts, together Vith their
Concord moH exactly: fehich for Brevities fak^j, I omit, ha/le-

ing

or Symetry. if

in? to the Measures of all the Tarts , 'which ate truly Symmetric
caly and correspondent to the Tarts of the World.

TheTroportion of a Mans 'Body of Ten faces.

THe proportion^ of a long and {lender Body muft
be patterned after the Body of tSMars the god of
Warr, amongft the (/entiles, who by reafon_j of his
Heat and Drynefs hath a long and (lender Body a-
greeabk_; thereunto ; and may alfo ferve for any o-
ther Body of that nature, as being Boyfterous, Cho-
lerickj Cruel, Martial, Mutinous, Rash and prone
toAnger-, as are all active and ftrong men, byreafon
of the bignefs of their "Bones, void of much Flesh;
which caufeth them to be of a hard, and sharp Body*
with great Joynts, and big Noflrils dilated with Heat;
whofeSyes, ^Mouth, and other paflages, are corref-
pondenf ; as in his due placo shall be more particu-
larly shewed.

The breadth of tho Hand , being divided into
Four Parts, makeththe Four Fingers from the top of
the Middle Tringer to the Elbow, is the Fourth Part_; of
the whole Body5 And this proportion is offucb indifferent Beau-
ty, that [paring the zSMartial afperity and bouldnefs , it may ft
divers other /lender and nobl<c_> Bodyes , as occafionjhallferiee.

The extravivant "Proportion of Ten Heads.

Since my purpofe is to Handle this matter^ exactly
it shall not be amifs, briefly to touch the Height
proportion of Ten Heads delivered by aAlbert T>uret
for although it be (in truth J) to {lender in all Mens
judgements, yet I may not_>omitit, becaufe it hath
the authority of fo Famous a Man_, in the Skill of

D ^

\6 Of Proportion

Taintino, as (jermany cannot^ match again. Tirftthefi
this proportion^ is in length from the top of the Head
to the (jbinn9 a tenth part of the whole : thenco back-
wards to the top of the J?ore-beady an_j Eleventh : The

face may be dhided into Three equal Tarts, as the reft are.

The ^Proportion of a Young Man of nine Heads.

I

Am of opinion that Francis n^Kia^alinus would have
proved the only rare; Man of the World, if he
had never 'Tainted any Other kind ofPicturcs { as rude,
grofs, and melancholly ) then thefo (lender ones
which he reprefentedwith anadmirablo dexterity
as being naturally inclined thereunto > fo that" if
he had only reprefented tApollo, Tacchus, the JsQmpbes,
&cc. he had fufficiently warranted this his mod ac-
ceptable,; proportion , which was ever (lender, and
oftentimes to Height , but when he took upon him_>
to exprefs the Prophets, our Lady and the like in_>
the fame; as appeareth by his aZMofes at Tarma, our
Lady at ^Jncona^, and certain nJngells not farr from-,
thenco, and divers other things quite contrary to
the Symetry they oughtr to have , he gave a prelldent
to all other T aimers to shunne the like error : which
himfelf might alfo havo eafily avoided, being re-
puted little inferioun. to Raphael Vrbine_j, whom he
might have propofed to himfelf as a_>patterne; for
Raphael ever fuited his perionages anfwerablc to the
variety of the J\(atures, and T>ifpoftions of the Parties
he imitated : fo'chatr' his Old Folks feem ftiffand
crooked, his Young Men agile and (lender., and fo
forth in the reft, which example admonisheth us,
that iu Painter ought nor" to tye himfelf to any one
kind of proportion.^ mall his Figures-, for befides
that he shall lofe 'the true Decorum-/ of thcHiftory:

He

of Symetty, if

He shall commit a_j great abfurdity in the <lAh by
making all his TiBures like Typihns: Into which errors
notwithstanding divers (otherwife^ worthy Tamers)
have runn,whofe names I fupprefs; and efpecially
one of thofe two great ones, which over-fighr_j all
crood practitioners will eafily difcern^, becaufe all
their Figures are of an Uniforme proportion, though
wonderfully exprefUng variety of aclions: And for
our better^ underftanding in this kind of proportion^
( as beft fitting Young Men, who are fomewhat Beau-
tifull by means of their, flendernefs, agility, and
gentle Difpofition-; mixed with a kind of boldnefs)
ItypkVrbine hath very Well expreffed ir" in St. (feorge
fighting with tho 'Dragon, now to be feen_> m the
Churches of St. Vittore deFratri in zSWiiane ; in St. %5\4ichaell
at Vontainbletp in France , and in that Cjeorg?^ which he
made for the Duke ofVrhine on a^Peice richly guilt,
according to which Obfervation of his, every Man
may difpofe of this proportion^ in the like young
Bodies , now for our more exacl: infight" hereinto,
byway of precept, wemuft firft note that a {lender^
young Body of Nine Heads is from the top of the Head
to the end of the Qrim, aNineth Parf of the whole
length : And thence back again_/ to the root of the
//^/VaTenth or Eleventh Part, aslhave obferved in
%aphaels St. Michael and in an old tApollo, but.* which
way fbever you makeif, this fpace is divided into
Three equal Parts 5 whereof the Firft makes the fore-
head) the Second the J^fe* theThirdtheCfc/wz, how-
beit I grant that in a face which is the Eleventh Part
(byreafonof a certain Tuff of Hair which is ufually
exprefled ) the fore-head becometh lower by a Third
Part ; which Rule the antient Cfr<ecians kept, as theio
Statutes do evidently witnefs.

E The

i8 Of Proportion

The ^Proportion of a Man ofEipbt heads.

W'Hereas in every Work there is lomeone entire
Figure, whereunto all the particulars of the
whole Hiftory ought to be principally referred, the
^Painter ought not to imagine, fbecaufe he is more
skilfull inreprefenting fome other thing in the work
then that which beareth the reference of the whole.)
that therefore he shall defervo commendation, but
rather difcredit, for it is mod certain^ that Work
will prove offenfive, where fome inferiour and by
matter, is more cunoufly handled then the princi-
pal, and the rather, becaufe the other Parts cannot^
chufe but loofe their Grace. A thing which hath
caufed divers excellent-; T aimers ( as well new ) as
antienf ( being purpofely carried away with too
great a defire^ of doing well) to leave their Works
imperfect , which they could not remedy any otheiu
way, thereby utterly defacing that which they had
dono, were it never lb excellent.

A moft pregnant-; example whereof we have iro
that antient Painter Euph^anor- who being to draw the
Twelve gods in ^Athens, he began-; with the Picture of
ZhQptune, which he wrought fo exquifitely both for
proportion, colour, and all other points; that pur-
pofing afterwards to mako Jupiter with far greater
perfection^, he had fofpent his conceit in the Firft
Figure , that he was not able afterwards to exprefs
any of the other gods, much lefs Jupiter) the like^>
Difgrace happened to Zeuxes by the Naturalenefs of
his Grapes, and the Imperfection^ of the 2?ojv, not
unlike unto which was that of Leon: Vincent of late
Dayes, who being to Paint Cbrift at his laft Supper
in the middft of his Difciples in the %efec~lory of St.

Maria

or Symetiy. k>

t2\4ariade(fratia-jMs5\£ilane, and having finished all
the other ^fpo/lles , he reprefented the two fames!
with fuch perfection-* of (/race and Majejly, that en-
deavouring afterwards to exprefs Qorift> he was not"
able to perfeffzndaccomplifb thatfacred Countenance-,
notwithstanding his incomparable skill in the iArt9
whence being in a defperate Cafe, he was enforced
to advife with "Bemad Zenale concerning his Fault,
who ufed thefe Words to comfort him. 0 Leonard
this thine_j Error u of that quality, that none but Cjod can corretl
it% for neither thou nor any Man living, is able to
beftow more Divino Beauty upon any Figure, then
thou haft upon thefe fames'* > wherefore content"
thy felf, and leave Chrijl unperfecl, for thou may eft
not fetChrift nearthofe drfpoflies, which advife Leonard
obferved, as may appear by the Picture, at this day,
though it be much defaced. Whence my Council is ■ that
for the avoiding of the likg Errors, toe examine^ the original
thereof, having an efpecial regard to our proportions ; as the cheif
Caufe of the groffnejl,, flendernefs, clownifhnefs, and dainty nefs of
'Bodies : "whence all the Beauty and IU-fayourdneJs of Ticlures pro*
ceedethy wherefore let each Body have his true and particular pro-
portion : which is to divide the Body into Eight equal Tarts, whereof
the head is one, which may fen><^j> for all z5\4en in general, who aoree
With this mofl absolute form , whofc proportion follow th .

Of the Proportion of a Mans Body of Seven Heads.

^pHe grand Philosopher Tythagoras , giveth fafrl-
* cient Teftimony of the Truth of theio Rules
concerning the proportion of Mans Body • info-
much as by their help he diftinguished the propor-
tions of Hercules his Body, from the other gods, by
finding out the true Stature thereof, and confe-
quently how much he exceeded the Stature of ordi-

E % nary

20 Of Proportion

nary Men; of whom aJn: (/ellins writeth, that he
obferved the Quantity of Hercules Foot, wherewith
the racoin Acaia^ before fupiter Olmypius his Temple
( where the Olympian Games were celebrated every
Fift YeaO was meafured 5 and found it to agree, in
the Number^ of Feet, with the other Races, which
were fix hundred Twenty Five Foot-, and yef to be
much longer then any of the reft.

2?jy which Example we may ea/tly conceive , that every propor-
tion Will not Jit all kindes of IZodyes , became there^j are many
varieties thereof , as there are Statural Differences of cBodyes t
therefore I will proceed to the handling of the proportion of a jBody
of Seven fubftantial and big Heads , all whofe <s5\d embers are
flrong, flurdy> and raifed-3 his length then fro/n^ the Crown of
the Head to the Sole of the Foot , is f even-times the length, of
his head.

OftheTroportion of a Woman of Tew Paces*

A Lbeit Dame J^ature, the cunningeft Work-Mi-
*** ftrefs of all others, doth ordinarily obferve fo
grearJ variety, in all her Workes, that each of her
particulars difFereth inBeauty and proportion; yet not-
withstanding, we find by experience, thaf she is
more induftrious, In shewing her Art and Skill in
fome few mod Beautifull creatures , whereupon^ I
(infbmuch as Art being the counterfeiter of J\(ature,
muft ever endeavour to imitate the mod abfoluto
things) intending to handle the proportions of a
Woman mean not to fpend much time in difcourfing
of the feveral proportions of all the Sorts of VV omen
which J^ature affordeth ( for that were infinite) but
purpofe to wrrite only of the moft pleafing propor-
tions appearing in dainty and delicate Bodies, now
this Body is thus meafured : Divide the Body into

Ten

or Symetry. if

Ten equall Pares, whereof the Head mult be One,
from_; the Crown of the head to the privities mud be
Five of the Ten, and from the privities to the Sole of
the Foot Five more.

And this is the Meafureand proportion of a come -=■
ly Womans Body > drawn not only froaL> the ob-
fervations of the antient Statues of Pcnus, but even
from_^ the ground of Nature it felf; which propor-
tion may ferve fo r any Woman^ wherein you would
efpecially reprefent the perfection of Beauty, and not
for every common Woman 5 as Martial, HuntrefTes,
grave Matrones, or other flayed Women, incline-
ing to groiTnefs, as the other tend to flendernefs,
and becaufe all the other proportions depend upon
thefe two ("as may eafily be proved by Geometrical
linesj I thought-' good to fet them down firft, as 2u
Rule and Direction for the reft, which I pu rpofe now
to handle, with the fame Method I did the other
two: Leaftotherwife, it might happily be thought*
that thefeproportions were made by chance; where-
foro all the particulars are to be framed , anfwer-
able to the Stature of fuch Bodies as they refemblo 5
otherwife fome one difproportionable and unfuitable
Partr^, will caufe as great, or rather a greater, ble-
mish inabeautiftdl Body: <iAs a Tufcan Capital, inaCo*>
rintbian QuUumne ; or a Thrigian note mixed Kvitk a T)orick^

The Proportion of a Woman of Ten heads.

'"pHe proportion of a Woman of ten Heads in length,
•*■ is thusmeafured, between^ the top of the Head
and the Sole of the Foot-, is ten times as much as be-
tween the Chirm, and the top of the Head, thenco
to the Trinities is half

F The

ii Of Proportion

The Proportion of a woman of J\(lne Facer.

TT was not without juft caufe that VitruYim in theFirft

* of his Architecture , diftinguishing the manner of
Temples by their feveral Orders- dedicated the TonicJ^
Order to the goddefs funo, as being (tenderer then_*
the T>onc^ and more fubftantial then_» the C°^nthian:
Confidering no doubf very wifely, that this god-
defs was not naturally fo Grave as Vefla-> nor yet fo
flender and beautiful! as VenUs •, notwithstanding she
carrieth a <i%datrone like Beauty, full of State and Ma-
je/ly, for which caufe alfo, I apply this Portion.; of
Nine Faces unto her, as mod properly belonging un-
to her, being inferiour in Beauty to the proportion-*
of Venus , and yer_j tbemoft beautifull amongft the;
*5\4atr one-like, wherein <*5\fajejly and (frace oughts to
be reprefented. zfAforeover this proportion may be applyed
unto Queenes of Middle-age ; or unto any other honejl , fair and
grarve women ; and doth mojl properly appertain to our Lady.

Of the Proportion of a Woman ofU^Qne Heads.

HpHough 1 might defcribo divers other proporti-

* ons of Bodies ( albeit" of fmall worth in refpecl:
of the principal) yet I purpofe to pretermit thcm_,,

'as well for thein. fmall ufe, as for brevities fake,
wherefore; concluding the Principal and mod Re-
gulate proportions, I come to the reft, and Firft to
that of Nine Heads , which being very flender and
comely, as reprefenting the third Degree of "Beauty ,
may be giveru not only to ^SMinena^^ but alfo to
"Diana for her foijtncfs and agility, as alfo to the JsQmphs
oftheRivers, and to the Mu/es, though with divers
attire, in_; regard of their place. This proportion-.

is

or Symetry. 23

is from the top of the head to the Chinn, a N inth Part-
of the length. The Face from the Root of the hair,
to the (Jhinnt may be either a tenth or eleventh Partr ,
as shall pleafe the Painter. This divided into Three equal
Tarts, the fir (I gives the Fore-head y the fecond the J\Q>fe $ the
third the Chinn.

The "Proportion of a Woman of [even heads.

IT was not without good Ground, that the old (free-
dans made the goddefs Vefia but Seven heads high;
bccaufo this proportion is Qrave and z5A4atrone like,
and therefor o was attributed to the Earth, the com-
mon Parent^ of all things. Beildes you may give it
to any Other, goddefs, which hath any kind of re-
femblancej with the Earth, as alfo to the more ftaied
and antient fortJ of Women , whereforo it were a
greatoverfighttogiveaflenderand delicate propor-
tion to the Sibills or other Grave and Sage Trophetefes-
as it were likewifo to make a Tropket with fucha pro-
portion asbelongeth to young Men.

*A Qh'ildof fix Heads is thus measured, dividing the body
into fix equal parts, whereof the Head mufl be one.

<±A (fh'ildof five Heads is thus meafured, dividing the bod)
into five equal parts, "wherofthe H ead mufl be one.

(tA Child of Tow Heads is thus meafured, dividing the body
into four equal parts, thereof the H ead mufl be one.

The %eajbn "why I have not given Descriptions or Rules, upon
all the particular defignes upon the Plates, farther then the
Side- way, or Triangle, Fore-right or Fore-short-
ening, is becaufe I thin\tt unnecejjary , unlefi you could
force Tfame Nature to obferve the fame method, with thern^
antient "Rules of Alberta Durera or £ oufine, the grand

F 2 reafon

24 The Art of Painting.

reafon is becaufe^j every Trint /hemps its dejigne of it fe^ to
any one that is Ingenious, observing the due dijlances, and
lights.

The Definition of Painting.

Pointing is an Art which with proportionable^ Lines , and
Colours anfwerable to the life , by observing the Terjpeclive
Light , dothfo imitate^ the Nature of corporal things, that
it not only reprefenteth the thickyep and tenderness thereof upon a
Flat, but alfo their aclionr, andgejlures, exprefing moreover di-
vers affettions and paf ions of the Mind.

For the better unfolding of which Definition.;
we mud underftand thaf every JsQttural thing con-
fifteth of Matter and Forme ; Whereunto (fenus and
Difference^ anfwer inLogic^ whence the Logicians fay>
that (fenus declareth the Ejjence of things, and Difference
of their Forme and Ejfential Quality 9. Wherefores I
think it not amifs, according to this Do&rine, to lay
open the above named Definition^, by expound-
ing all the Differences whereby the Arr_>of Tainting is
di (H ngui shed from all other aArts and Sciences ; the
(/mm then in Tainting is Art, which is prooved by
twoReafons. The Firft is drawn-* from the Defi-
nition of <iArt it felf, which is nothing elfe but a_>
furo and certain Rulo of things to be made, the
Second from the Natural things themfelves, which
are a "Rule and oS\fea/ure to the greater Part of the
Arts and Sciences, in the World (infomuch as they are
Gods creatures, and confequently indued with all
fuch Perfection^ as their Nature is capable of, and
therefore may well be a certain^ Rule to Artificial
things.

Hence

The Art of Painting. 25

Hence it appeareth that Tainting is an Art, becaufo
it imitateth natural things moft precifely , and is the
counterfeiter and (as it were) the very Ape of nature,
whofe Quantity , Eminency and Colours , it ever ftriveth to
imitate, performing the fame by the help of (geometry >
^Arithmetics TerfyeBive, and Statural Thilofophy , with
moft Infallible Demonstrations, but becaufe of Arts
fome be Liberal , and fome Mechanical , it shall nof
be amifs, to shew amongft which of them Tainting
ought-jtobenumbred. Now Tliny callethit plainly
a liberal Art, which authority of his maybe proved
by reafon, for although the V aimer cannot Pa;mhg u a Z(.
attains to his end, but by working both w"*""
with his hand and pencil, yettKereisfb little pains and
labour_. beftowed in this Exercife, that there is no
Ingenious Man in the World, unto whofe Nature it is
not moft agreeable, and infinitely pleafant.

For weread of the French King Yrancis, the Firft
of that name, that he oftentimes delighted to handle
the pencil , by exercijing, drawing and painting; the like_^
whereof is reported of divers others Princes, as well
antient as late • amongft whom I may not conceal
Charles Emanuel Duke of Savoy, who ( in all other He-
roical Venues, fo amongft other Liberal Sciences in this)
imitated and moft happily equalled , that greaV
King Francis his Cjra?id- father by the Mothers fide, fo that
in thefe and the liko Exercifes, nothing is Itafc^ of
aSMechanical, but all 3\Q)ble and Ingenious.

For to fay the truth; what Princo or Ingenious
Man is there, which taketh not delights with his
pencil to imitate Cjod in nature, fo far forth as he is able :
Farthermore it cannot be denied, but thatr' the (jeo-
m&trician alfo worketh with the Hand, by drawing Lines*
as 0rdes, Triangles, Quadrangles and men like Figuies $
neither yet did ever any Man_> therefore account-*

G Geome*

i6 The Art of Painting.

geometry a s5\£eckanical ^Jrt, becaufe the Hand-labour
therein imployed is fo Height, that itwerc an_> ab-
furdity in refpecl: thereof, to reckon it a bafe con-
dition.

The like reafon is there of painting, the Praclice^
whereof, doth fo little weary a Man, that he which
was 3\(oble before, cannot juftly be reputed 'Safe by
exercifTng the fame; butifbefides all this, weshall
farther confider, that Tainting- is fubordinate to the
Verfpeflives, to U^Qttural philosophy, and geometry (all which
out of queftiorL_> are Liberal Sciences ) and moreover^
that it hath certain^ Demonftrable conclufions, de-
duced from the Firft and immediate Principalis
thereof, we muft needs conclude that" it is a. Liberal
zArt.

JA/cw what k[nd of L iberal Arts it is (to omit all other proofs)
may eafi/y appear by the forefaid Definition ; where it is firfl
[aid, that it reprefenteth upon a plain, the T hicknefs and ro und-
TbtDifftnmt, n efs of jB odily things , not excepting any , either Na-
tural or Artificial, 'whereby vpe may gather that it belon^eth to
the Painter alfo to represent Pallaces, Temples, and all
other things made.; by the hand of the Artificer.

Moreover it is faid, that it reprefenteth the Figure
upon a Vlainc^ > and hereby it" is diftinguished
from Caning ( though not Ejjentially , but onely Acci-
dentally (2ls it is faid in xhcVroem) by reafon of thedi-
verfity of the matter, wherein both of them repre-
fenf 'natural things which imitateth Nature like wife,
though it exprefs the perfect roundnefs of the Bodies
as they are created of (/od, whereas the V aimer repre-
fenteth them upon aFlaf Superficies : Which is one of the
chief efl reafons, why Painting bath eyer been preferred before
Carving.

Becaufe by meer Art upon a Flat, where it findetb
only length, and breadth, it reprefenteth to the Sye

the

The Art of Painting. 27.

the Third Dimenfion, which is roundnefs and thick-
nefs; and fo maketh theBody to appear upon a Flat;
where naturally it is not.

Furthermore it is added in the Definition^ : that it
tcpzeicntcththe'BodilyaSWotions, which is moil «•&*.
true, for in that moft Famous Viffure of the lad judge-
ment, done by the Hand of the D'mne Michael Angela, in
the Popes Chappel at %ome, who fees not what moti-
ons may be exprefTed in Bodies, and in what order
they maybe placed; there may you fee our Lady, St.
fohn^nd the other, Saints reprefented with great Fear,
whileft they beheld Qirift moved with indignation^
againft the wicked,, who feem to fly away and hide
themfelves behind his Back, that they might noLi
behold ^ angry countenance wholly inflamed with
indignation-* : There shall you behold the guilty^
who being aftonished with Fear, and not ablo to
indure his glorious prefence, feekdark Dens and deep
Caves to hide themfelves in.

Cn the one fide, you shall finde the Saints feeming
( in a Sort ) to finish the aJB of the refurre&ion, af-
cending up into the Aire, to be placed at" the right
hand o£ Cbrift : On the other fide you would think
you fawthe Angels coming down from-, Heaven with
the Standard of the Crofs : And on the other, car-
rying theBleffed5Ww to be placed at the right hand
oiC/od.

And to conclude there is no corporal aSMotion , whether It mf
forwards , of backyards ; on the right hand, or on the left ; upwards }
or downwards, which may not be feen expreffed, in this moft atti*
ficial and admirable P i&ure, but if we /hail farther confider the
pafions and motions of the tZMind, whereof the Definition mafyth
mention likpoife, they are alfo to he found in the fame wor\, MM
no left Art then admiration to the beholder , efpesidlly in Chrut

Q is ifi

28 The Art of Painting.'

in whom you may fee Wrath W Indignation^ kindled, that
hefeemeth to be altogether incenfed therewith.
»*-»* Again-, both in the Mi®*, and damned
S) ^^ bang appalled, znd con fu fed, ismoftlive
*f ly cxpreffed, an exCGedina dread and horror
of the wrathfull /%, and in a Word, many mo-
tions as well of the Body , as of the Mind, are to
be found in tho Works of this Ttivine Bonaraot of
the rare Raphael Vrbine , and of other worthy "Painters
both old &nd new, as well of love as hatred, fadnefs as mirth
and all other pa/lions of the Mind.

All which reprefentations arc; after declared in^
that part- of the Definition, whereit is faid, that-
**~ y4i«toi^ with proportionablolines maketh
CCc. where we muff Note that- the Painter in his de-
scriptions, doth not draw lines at randome, without
%ule Proportion, or At, ( as fomo vainly have imagi-
ned) fmce the Arrantefi <Bmglers thatare, proceed with
fomohttle Method, and although Horace inhisboolc
deArte Poetica faith : that

"The Poet and the Painter, Lthli\ePatent to invent,
<iA S tor y anddifpofe the fame as Jh all him be (I content.

Yet that-, is thus to be underitood, that it is law-
lujl for him to cxpxck^ Figure, in what adion_, he
hit, as in shewing fulim C*far in the Vharfalhn PFarr^
in fome adion, which peradventuro he never did'
as letting him in thcFaWard, when he perchance was
found in the %em>ard, or reprefenting him encouracre-
insnis Souldiersto^W which perchance he never
did; this only excepted the fainter is bound to pro-
wu mc h!S ^°rks accor^ng to proportion and **
Wbereforo before you begin to Stell, delineate or
tnck out the proportion of aMan, you ought to know

his

The Art of Painting. 29

his true Quantity and Stature for it were a grofs abfurdi-
ty to make a Man_> of the length of Eight Faces;
which is of Nine; or Ten, befides this, we ought to
know what-' proportion the Fore-bead hath with the 3\(ofe;
the SSQfe with t\\cz5MCbuth and the Q>^n> the whole
Face with the thQec^, and in a Word to learn the true
proportions of all things natural and artificial.

Now becaufe it feemeth a matter of great" diffi-
culty, and almoft impoflible for one Man to attain^
to the full perfections of all this Ifymkdgt^, we may
propofe unto us the Example of the mod judicious
<lA 'pellet* who when he undertook any fpecial piece
of JForh^ wherein he meant to shew the utmoft of
his Skilly he ufed to Hang it forth to publique View,
hiding himfelf behind, to the end he might-7 hearken
what every Mans Judgement" was, concerning the
proportion andPForkinan-fhip thereof,and according to each
mans cenfureoffuchthings as appertained to their pro*
fefiwns. He ftill corrected his w6rks as on the contrary
fide, he did confute and reprehend thecenfures of fuch as
would take upon them to give their judgements of fuch
things as appertained nof to their profefiions (as did
the Shoemaker, who not content-' to find Fault with
the Sbooeof oneof hisTittures, would needs cenfufO
the ©then. Parts ) unto \vhom_> he anfwered, ne Sutor
ultra crepidam.

Furthermore^ the Tainter ought to ob- L« •»« •*• ih»-

O makfr frejumt bt-

ferve an Order and z5Method in thole propor- v^^*^-
tionablo lines therein, imitating Stature rn her_>
proceedings; who firft prefuppofeth Matter being zJ
thin g void of Forme, beauty, 'Bound, or Limit, and af-
terwards bringeth in the Forme, which is a beautifull
and limited thing, in like forf the Tainter taking ab'
Taneloi Qotb ("in 'the Surface whereof there & nothing

H feit

jo The Art of Painting.

but a Flat and plains Super- fides , without Beauty dn,
L imitation.; of parts ) he trimmetb, primeth, and limiteth
it by tracing thereon^ a sZMan, a.Horfe, or a Cullumne,
forming and tricking the true proportion^ thereof, and
( in a Word ) Imitating by lines, the Stature of the .thing to be
painted in breadth, length, or thicknefs.

**■ And becaufo in this place there fallethoui_> a
certain^ Precept of zSMicbael <*Jngelo, much for our
purpofe, I will not conceal it, leaving the farther in-
terpretation and under jlanding thereof, to the judicious
Reader. It is reported then that Michael \Angelo upon
a timo gave this obfervation to the T aimer oS^fariw
deScina^his Schollar, that he should alwayes make a_>
T iguvcj Tyramidal 9 Serpent like, and multiplyed by
One Two and Three, in which precept ( in my O-
pinion-;) the whole zfMyflery of the <*Art confifteth,
for the greater! (jrace and Life that zT Mure can have^
is, that it exprefs motion-, which the V aimers call the
Spirit of a ViBure. ZAQm there is no Fornix fo fit to exprefs
^Motion, asthat of ^Flameo/Tire, which according to
Ariftotle, and the other Philofophers is an Element mojl
aclive of all others, because the Forme of the Flame thereof u
moft apt for Motion, forithatha Conus or fharp Point vehere-
ippith it \eemeth to d'mde the Aire that fit may afcendto his proper
Sphere, fo that <i_> Picture having this former "will be mojl
heautifull.

Now this is to be underftood after., two forts:
either that the Conus of the Piramis be placed upwards,
and thc'Bafe downwards as in the Fire, or elfe contrary-
wife, with the TZafc upwards , and the Qonrn downwards-.
IntheFirftitexprelleth the width and largenefs of a
P i6ture, about the Leggs and Garments below, shew-
ing it (lender above, Piramidal Wife, by discovering
one Shoulder, and hiding the other, which is short-
ned by the turning of the Body; in the Second it

sheweth

The Art of Painting. 31

sheweth the Figure biggeftin the upper Parts, by re-
preferring either both the Shoulders, or both the Armes;
shewing one Legg and hiding the other, or both of
them after one fort, as the Skilfull Tainter shall judge
fitted for his purpofe, fo that" his meaning is, that
it should refemblc; the Forme of the letter S placed
right, or elfe turned the wrong way as ^ becaufe
then i t hath his 'Beauty: Neither ought he only to ob-
fcrve this Forme in the whole Body, but even_> in
every Part; fo that in the Leggs, when a ifMufcle is
raifed outwards on the one fide,that_j which aniwer-
eth dire&ly on the contrary fide, muft be drawn_j
in and hid, (as maybe feenein the life )

The lajl part of Michael Angelo his Obfervationwos, thai
a Picture ought to be multiplied byOnCj Two, WfThree,
and herein confifleth the chiefefl Skill of that Proportions/or
the D iameter of the biggefl place bettveenthe K nee and the Foot
is double to the leajl, and the large/lpart of the Thigh triple.

But to return to the Definition , that part «».
remaineth to be expounded, wherein it is fa i d that
Vainting reprefenteth things with C°l°urs> like to the
Life -y whence it is to be marked that the Artificial painter
ought to proceed according to the courfe of J\(ature ,
who firft prefuppofeth Matter (as the Vhilofopbers hold J
unto which it addetha Forme, but becaufe to create
the Sub/lances of things proceedeth from_> an infinite
power , which is not found in any creature ( as the
"Divines teach) the Vaintermuft takefomcthing inftead
of z5\4attcr, namely Quantity proportioned? which is'
the Matter o £ painting, he re th e n th o Tainter muft Tht MatlCT
needs underftand that-; proportioned Quantity , :fPainnn^
and Quantity delineated, areall one, and that the fame
is the A^enWSubftance of Tainting, for he muft confi-
der, thatalthough he be never fo Skilfull in the ufe
of his Qolours, and yet lacketh this Delineation j he is

H 2 uflK

32 The Art of Painting,

unfurnished of the Principal Matter of his Art, and
confequcntly of the fubftantial part_> thereof, nei-
ther let any Man-; imagine that hereby I go about to
diminish the power and venue of colour, for if all parti-
cular Men should differ one from another in Matter
alone (wherein out of all doubt all agree) then all
Men muft needs be one, andfo that-' moft acceptable
variety of l'o many particulars as are now in the world
would be wanting ( which variety is caufed by thofo
THdhUudnm Seven particularities which the Thilofophers call
s.aiuatc particularizing Qualities, ) thatis Seven fubftantial
accidents , which caufe the^ particularity and Jingularhy of
fubftances, fo if the Tainter should only Tourtrait out a
Man in juft Symetry agreeable to Zh(ature-7 certainly this
Man would never be fufficiently diftinguished by his
mere Quantity : But when unto this proportioned Quan-
tity he shall farther add Colour, then he giveth thelaft
forme andperfeBion to the Figure : Infomuch, thaf who-
foever beholdeth if may be able to fay, this is the
Viflure of the Emperour (Joarles the Fift, or o£¥hilip his
Sonne, if is the piBure of zzZAdelancholic^ Flcgniatic^,
Sanguine, or Cbolcrick^Fclloto, of one in love, or in fear
of a bashful! young Man, &c. and to conclude the
piclure will attain to fuch perfection, that the party
counterfeited may eafily be known thereby : Where-
fore I aebife the Painter^ to be very sktlfullin the u[e of Colours,
as in that wherein con/i/leth the wholes perfection of his Art.
»&%«** And in this point alone is painting diftin-

Carving dif- 111 Jt 1 1I • n

** guished rrom_/ all other zArts, and chiefly

from ^rwwg-, becaufe inprecife imitation of the life
the painter performeth much more then the Carver is
able, for the Carvers intent is only to give the felf fame
quantity to his Figure which his Statural pattern hath, fo
that his fpecial purpofe is to mako the Figure equal to
die life; which cannot therefore be faid to be per-
fectly

The Art of Painting. 33

fe&ly like thereunto, becaufe Phylofyby teachethus
that Similitude, is not properly found in Quantity,
but in Quality only : now the £o/owr which the Tainted
ufeth, giving thereby the Similitude and proper %efem-
blame to his counterfeits , is molt truly and properly Qua-
lity, and although we ufually call ono thing like to
another, when_j it hath the fame Quantity, yet this is
an improper fpeech , for if we should fpeak properly^
we should call itEqual and not^ Li{e3 wherefore Si-
militude is found only in Quality, and Equality, which
the Caryer eonfidereth only in Quantity, but the 'Painter
doth notr'only endeavour to give the truej and juft
quantity to his figure, by making ir_-> equal to the life 5
as the carver doth , but moreover addeth quality with
his colours, giving thereby both quantity and jimilitude>
which (t as hath been-; proved ) tho carver cannot
do.

Now the Painter exprefTeth two things with his
colour : Flrft the colour of the thing, whether it be arti-
tificial or natural, which he doth with the like colour, as
the colour of a blew garment with artificial blew, or the green
colour of a Tree with a like green : Secondly he exprefc
{'eth the light of the Sun, or any other bright Body
apt to lightens or manifeft the colours, and becaufe co~
lour cannot be feen_; without light, being nothing
elfe(as the Philosophers teach.) but the extreim^ Super-
ficies of a dark untranfparent^Body lightned, I hold
it expedient for him that will prove exquifito in the
ufe thereof, to be moft diligent in_. fearching ouLj
the effeds of light, whenitenlightnethco/o«r, which
who fo doth ferioufly conilder, , shall exprefs all
thofe effedswithan admirablo^ra^; andalthough
iheblervbc equally difperfed through all the Parts of
^garment, fo that there is no more in one part theri^ in
another ; Yet notwithstanding when it is illustrated

I W

34 The Art of Painting.

by any light, it caufeth one kind of brightnefs itU
that part where itftrikethmore vehemently, then_j aii^
othe r, in_j that part, where it shineth lefs.

Now when the T aimer would imitates this bleat thus
lightned, he shall take his artificial Mew colour, counter-
feiting therewith the blew of the garment, but whero
he would exprefs the light , wherewith tho blew
feems clearer, he muft mix fo much white with hisblew,
as he findeth light in that part of the garment, where
the lights ftriketh with greater^ force, confider-
ing afterwards the other part of the garment, where
there is not^ fo much light, and shall minglo lefs
ivbite with hisblev proportionably, and fo shall he pro-
ceed with the likedifcretion_-»inall theother parts:
and where the light falleth not_j fo vehemently, but
only by reflexion-* there he shall mix fo much sha-
dow with his blew, as shall leem fufficient to repre-
fent that light, loofing itfelf as it were by degrees,
provided alwayes, that where the light is lefs darkled,
there he place his Jbadow,

In which judicious expreflingof the effects of light
together with the colours, Raphael Vrbine, Leonard Fin-
cent, <*Antonius de Qoreggio andTitian weromoft admi-
rable, handling them with fo great discretion and judge-
ment, that their TiBures feemed rather natural, then_>
artificial 5 tho reafon whereof the vulgar-. Eye can-
nob conceive, notwithstanding thefe excellent
zSMa/lers expreffed their chiefeft art therein, con-
fidering with themfelves that the light falling up-
on the flefb caufed thefe and fuch like effeBs , in_>
which kind Titian excelled tho reft, who as well
to shew his great S^therein, as to merit commendation,
ufed to cozens and deceive Mens Byes, the like did
tSMkhael zAngelo who to make^ proof of his Angular
infigbt in the ^Anatomy y inclined fomewhat toward the

Ex-

The Art of Painting jj

Extreatrij byraifinguphiscj^/w/c/w a little tbohardj
and by this means shewed the eminencics and rifings ,
in which naturally they were (mall, asinthoBody
of (>//?, &c.

Again Titian to make known his art in lights and Jhd-
dotps, when he would exprefs the lighted /wj of the
"Body ufed to add a little too much m>hite } making it^
much lighter then hispattem, and in the obfcure^ partSi
Where the light fell by reflexion, a little too much (hadon?*
inrefemblancoof the decay of the light in that part of
the2Wy, and fo his aw\feemeth to be much raifed ,
and deceives the fight, for the light which cometh to
the Eye,in aTyr amidol f or m^{as shall be shewed in_, the
enfuing difcourfe)cometh with a blunter and bigger Awki
andfo is feen more evidently, whence arifeth a won-
derful! eminency , the efpecial caufe whereof is, be-
caufe there is much more (hadew then needeth in that^
part, where the light decay eth moft * fo that the vufudt
lines failing, that part cometh to the Eyein an accuter
and jbarper angle , and therefore cannot^ be feen fy
perfectly , infomuch that that parr" feemeth to fly
inwards, and (land farther off. Tim when the Four
parts of a Body are much raifed, and the hinder fly Sufficiently
inwards, then appeareth a-> yery great heightning , which
giveth a Wonderfrll Spirit, and after this fort Titian beguiled
th^__j Eyes of fitch as beheld his mofi admirable Tporlq.

Of the Vertue of Lighu

Ight hath fo great forco in Titlures, that ( in my*
^ judgement) therein confifteth the wholegrace there-
of, if it be well under flood, an contrary wife, the dif~
grac^j if it be not perceived, and evident examplo
whereof we may fee in zu Body pioponionably drawn/

I 1 whiefe

$6 The Art of Painting!

which being yet without" his lights , sheweth very
beautifully Co far forth as it is wrought , but if after-
wards if shall be jhadowed without judgement and arti
fo that the fhadowes be confufedly placed where the
lights ought to be, and contrarywiie the lights where
the Middle of the Jhadows should be-, and the coma*
vines and convexities diforderly fuited, without any
Imitation^ of fhQiture ii werebetterithad never been
either drawn or Hghmedt whereas having lights well dif-
pofed, it doth not Only add perfections to the draught
but fo fets it off from^ the Flat that it feems to be
imboffed.

And in this venue and power confifteth the chiefeft
excellency of the fainter : Infomuch as this point
moftproperly concernethhim_>, by makinghis coun-
terfeits feera to be as much raifed, by reafon of the
flriking of the lights they are indeed in the Carvers wor^
by reafon of the matter,which("as all Men knowjhath
height and depth, the right fide and the left , the fore-part and
the hinder, wherefore they fay that the thing which the
Carver intendeth to make, is in the zSM'arble, which
afterwards becometh good or had, by cutting and forming,
but to return to the light, I fay this moreover, that
although it be of fuch efficacy, that it diminifheth the grace
of the draught, where it wanteth (as is faid ) y e t the Inar-
tificialnefs of the draught cannot difgrace it, whence we
fee, that if the lights be well and proportionality befto wed
throughout a Body, which is [{{proportioned and without
aSifufcles, it contenteth the Eye of the beholder fbme-
what the more, by moving him to a defire of feeing
the aSMufcles and other neceflary p^r/j, in fuch a Body
as in the Ti&ures of 'Bernard , Zenale, Frbiliano, viz.
the glorious r e fur rc&ion of Chrifl painted by him, over,
the (fate in the Cedent of the (Jmw of (jraccj in ^MHane,

and

The Art of Painting. 3 k

and many other Hiftories of his doing as Weil in_^
colours, as in blac^ndi^hite^ in the fame place

Wherein may be feen TiBures, made without Mufcles,
and other neceflary accomplishments, for the moro
gracious representation of €ye*pleafing perfeBion, but yet
well placed, and with their light- mod artificially dif-
pofed in their places^ infomuch that the^ leem_> to
be imbojjed outwards , fuch is the force of thefe lights
in which you shall alfo find admirablo perfpeBives and
forejhortnings, wholly proceeding from the orderly dif-
pofing of the lights, without-1 'which thefe draughts
would have proved imperfeB, loofing much of thaP
grace, although they were well placed, fo that wo.
find many Tainters, whobeing ignorant of tht art of
proportions, only by a little practice, in difpoflng their
lights in fome tolerable^ fort, have notwithstanding
been reputed good tArtift j which commendation^
they defervenot, becaufe they neither have the Art
of pcrfpeBcves nor the true representing of any of the
lights i

Now for an_j Example of the true art of exquifite
bellowing of thefe lights, that Teece of Le: Vincent &
mongft many others^ roayferve4.is,infteadof all the
refl of his well lighned TiBures , which is now to be
found in_j St. Franw Q°urch ms5\£ilane, where he hath
painted the conception of our Lady \ which ("to omif
other excellencies therein J is mod lingular in this
point, for the perfection^ o£ligbtss thofe two pieces
doncby the hand of ^Antonio Qorreggio are moft admi*
rablc , which are yet to be feen in the famo C$ )
with Qa"valier Leoni zAretinoi in one whereof is painted
fair Jo, with fupiter upon a Cloud, and in the others
Danaenndfupiter descending into her lap in the forme
of TLi golden fhomr^ with Cupid and other Loves, having
their light fo well difpofed, that I dare boldly fay,

38 The Art of Painting,

no other ^Painter is able to match him in colouring and
lightning-, which Degrees were fent_jhim out o£ Spain,
from his Sonne Tompey a carver. Moreover <£Micbael
sJngeh, and %aphael Vrbine, the Fathers and Mailers
of painting are reputed mod rare and divine in lights, out
of whole Woofer I may truly fay,almoft all the famous
T aimers of Italy havo attained tqithe worth <of their
fame. 53$

• "No w then-- infomuch as thefe lights, are of io great
vertue, we ought to ufe all diligencofor the perfect
attaining to the knowledge thereof, by applying them
to our draughts, as is shewed, infomuch as the art of
proportion, motion and forejh ortning , hath butfmall ufe or
commendation-* in a Tainter, without the knowledge of
thefe lights, found out by reafon and art, and not taken
by bare imitation-; from the imbojfed models, under a_>
falfc apprehenfion of the light, without order or di-
fiance , as alfo in the lines and fuper^ficies of Bodies :
wherefore they prove falfe, and altogether contrary
to the rules of art. oJtnd thus much I thought good to nott^j,
concerning this poinC purpofing now to begin the treatife of light
iifelj, by the afiftance ofhimu who inlightneth the underjland*
ing offuch asfubmit themfehes unto him^, 'with a pure z5\4ind wholly
prepared for the receiving of fo divine beams.

Of the ^(ecefiity of Light.

IT appeareth by thar_j which hath been_^ hither-
to fpoken, that apeece ot painting drawn-* in propor-
tion having his truo motion, and put in colours with-
out the lights, is like a Body in the; dar(, of whofe
Quantity or Quality a Mancannor'/Wge, fave only
by the help of hisunderflanding, that'isby thatinward
conceipt he hath of the thing, and not by any outward,
infomuch as it is hidden from the external light, which

con-

The Ait of Painting. j£

concurring with the internal , by means of the Beams
proceeding from the-? Eye, makes the diverfity of
' Bodies known-; to the underftanding, after the fame
manner, as they receive their light naturally.

Wherefore^ I "will handle the lights, Joying nothing- of the
shadows, although they be handled together toith them, for the
shadows do neceffarily folloip the lights , being caufed hy the
decay of the light , taking [o much the more force, by hoto much
the more forcibly the light flrihgth upon the "Body, whence
arifeth that exceeding great raifing W heightningo/^ na-
tural plain, in a "Body receiving the light according to his proper
nature.

And by this we shall know, how the lights, refleBi*
ons, zndnatural rebating of thclights, do vary, according
to the diverfity of theBodies, by altering theni^ as
shall be faid, wherein alfo we shall fee; the very per-
fection of the an • for without this, neither order, forme,
proportion^ motion, compofition, or figure -, can attain^ to their
perfection, like unto a Body without" [cituation or fpirit,
or to counterfeit Starrs without^ the light of the Sun,
giving them their brightnefs anfwerablo to their
qualities, whereby they may be feen. But" now as
touching my propofed matter, I will Firfthandlo the na-
ture of light, and afterwards ( by the help of Natural
Thilofophy and tho Opticas, being theFirft part of tho
perfpeBives) I will fpeak i'Ti_> general of the primary and
fecondary lights, then otdireB&n&reflMed lights, afterwards
how by«J^f^^w^/Wreafons,diversdiftincl lights may
be feen, by reafon^ of the variety of the Bodies, and
finally of the qualities of things appertaining there-
unto, howitmaybeunderftood in all things, andin
the Elements themfelves.

:

40 The Art of Painting.

Of the 3\(ature of Light

THis Wotd Light is diverfly taken : Fir/land principally
it_> fignifieth the Image of that~> T>ivine Stature
which is the Sonne of (jod, and the brightness thereof ,
which thoy/^ow/V^f called the Image o^ the dfoim mind.
Secondly the comfortable operations of the HolyCjho/l:
Thirdly that divine venue, which being diffufed through
all the creatures, is in Men their divine grace, and in
all other living creatures, that/>ofcw whereby they
are preferred and defended, as thaf of the Serapbims ac-
cording to T)ionyfim\ Fourthly that intelligence; in
the aAngeUy which breedeth that^oj in them, which
pafleth our underftanding, yet diverfly received,
according to the diverfity of the intelligence ap-
prehending it, as zSMarcilius Ficinim upon_> Tlato not-
eth: Fifthly in the Heavenly Bodies if caufeth abun-
dance of Z//e, (ignifyingan-j effectual propagation, and*/-
Jtble brightnefs in the Fire, with a_> certain accidentall
power proceeding from the fame : Sixthly if is taken in
Men for the Light of their rf0^,underftanding, which
illuminateth their "Patient or paffable underitanding;
(and in a Word ) for the difcourfeof reafon, and the
knowledge of divine things : Lafl of all it fignifyeth a
quality proceeding from the Sun or the Fire , which fo
difcovereth colours, that they may be feen, and this
( as the Teripateticki fay) is the caufe ol -Formal %eaj on,
whereby coloured things are feen, whofe Shapes and
Images pafs to the phantafie , and efpecially enlighten the
Eyes, in which the Image isformed, which Firft paf
ethtothe common fenfe, afterwards to the phantafie, and
laft of all to the under (landing, this Light is difperjed and
extendedunto all Bodies that are openly propofedunto
k, in which colour, and a bemtifull resplendency of thick

and

The Art of Painting. 41

and dark Bodies is difcovered ("as the Tlatonickj fpeak )
caufed by this light, together with certain beneficient
and generative venues. But where the Sun- beams fall not,
and are not at all difperfed, there (the beams of tho
Eye being reftrained ) remaineth a dar\ colour, which
difpleafeth, and evil effecleth the mind, fo that all
things according to their capacity, feel the power of
the light, which joyning all Creatures to it felf by
this lively heat, and piercing through them_, all,
giveth to each of them his proper^ Quality and Ver~
tue.

Whence thofe who are judicious in this Art, ufe to
give lights to all things after one and the felf famo
manner; infomuch as we fee, that the Sun rifing above
out Horizon, lightneth all things in an inftant, thereafoii
whereof is, becaufethe light hath no contrary which
might hinder it, with his aBion. Wherefore^ it performeth
his operations in the Air, in an inflant.

And hereunto appertained! that, which the Thi*
lojophers fay concerning the darknefs of the 3\(ight, that
ir* is not caufed of any dark or black colour, which
coloureth the* Air, bur' only by the abfence of the Sun$
whofe pre[ence_j> and brightnefs equally lightneth our whole
Hemisphere, and would in like fbrtr lighten the whole
Earth, together with all compound Bodies* if they
were tranfparent as the Air is, but being Opakf, thick^&nd
corpulent, they receive not the light in his perfect bright*
nefs, fave only in that part which is direBly oppofite W
the Sun, and therefore in this our Hcmejphere ( becaufe
the Sun never pafleth perpendicularly over our Zenith) the
Earth can never be fo lightned, but that one fide or 0-
ther of it will be Jhadotoed^ which happeneth untd
thofe parts, which lye direBly under the equinoBial line '*
where the Sun at Noon doth fo lighten the Earthy ana
the inhabitants, that it giveth light to the whole circuni^

%$ ' JereMi'

42 The Art of Painting.

ference of round Bodies > and there is no Jhadow feetl
unto the very Feet, Whence the judicious in thu Arf,
forbid ut to give lights in a p icture unto all^Bodies, after one and
the jelf fame manner.

But befides this confideration-> of the light illumi-
nating, and the Earth with all earthly Bodies lightned,
there is another more forcible^ reafon drawn from the
grounds of the zSAdathematicks, vi;^. from the yifual lines
of perfpetlive , together with the Eye, for the better
understanding whereof we mud note , that Threes
things concurn. to our fight, the vifital fines, the coloured
Body, and the faculty of feeing, which is in our Eye ,
the vijual lines lightned ( which are the proper Matter^
and fubjecT: of the perfpeBives ) come to our Eye in a_>
pyramidal Forme , the Bafe of which Tyramis refteth
in the ObjecT:, and thecoma or angk^j thereof, cometh
to our Sye more blunt and obtuje : And hereby we fee
the ObjecT: more plainly and diftinctly ; but if tho
Object be afar off, the conm or angl{_> of the Tyramis
comes to the Eye fharper and lejfer, and then_; our Sye
cannot-; difcerne it fo clearly as otherwife it would.

Secondly it is to be noted, that the ObjecT: com-
eth nor' to our Eye, but the yijible fpecies otfbapes aro
diffufed through the clearnefs of the <t//Vunto the Eye,
which fpecies are nothing elfe but certain^ Images, like
unto thofe which we fee in->zglafs, when a Man or
any thing elfe (landing againft if, is reprefented
therein.

And if the coloured Body or Object (land neer to this
Image, it comes to our Sye in the fame quantity and big-
nefi of the angle of the Tyramis : Now becaufe this angle
comes to our Sye in an obtufe and blunt form, the Image
alfofecms great, and fo is difcerned more diftinctly,
but when the coloured O b j eel: fta nds afar off, the Image
comes to the Eye in a very fmall and flender angle, and

there-

The Art of Painting. 4j

therefore filleth nof the Bye, but wavereth in fuch
fort, that it cannot b^j clearly and diftinBly difcerned.
As touching the Third I have no more to fay, but
that the faculty of feeing is reduced into Art, being
formed by the concurring of the other Two things
required before, vi^ the vifual lines, (without which
the Sye cannot fee.} and the Image of the coloured Body*
which informeth the Sye, by reducing it from_> meer
ability intoaB, and informing it moro perfectly with
a great-; Image, by performing his operations better,
and caufing the thing to befecn moro apparently and
diftinBly : whereas with the fmall Image of a thing too
fardiftant, the Bye cannot be fo well informed, and
therefore it cannot fee the thing perfectly.

Fronts which grounds, I draw tbefe Two reafons, toby the felf
[amellodji cannot be lightned equally in ^places*

TheFirft is becaufethe light doth not" with all his
hightnefi illuminato any more then that part, which
is direclly oppofltcj to it , being not able to ///«*
firate the other parts fo perfectly, by reafon of the Na-
turo of the dar\ Terrene, and grofs Body> which fo
hindrcth the beams , that they cannot pierce inwards, and
perfbrme their effects perfectly.

The Second reafon^ is taken from the 3\(aiure of
our Bye, for as theFirft part of the Body isfeen and
placed ncareft the Bye, comes unto it with a bigger angle$
fo is it alfo feeri-jmore difihiBly, becaufe it is moro
lighmed, but the Second part thereof, being farther^
of, comes to the Eye in_» a leffer angle, and being lefs
lightned, is not fo plainly feen_> as the Firft, and by this
rule, the Third part will be obfcurer, and fo the Fourth
proportiotiably untill the Eye can fee no farther.

Now if you ask mo what the Painter ought to do,
when_-» he would paint Two, Three, or Four Men, ftand-
ing one behind another, all of them equally receiving

44 The Art of Painting^

the light , I anfwer alwayes according to the former
foottrine, that although they be equally lightned, yet we
muft paint the Second which is farther offtrom_> the Eye
darker, and the 'Third more then him, and the Fourth
mofl of all, &c- untill our Eye can fee no more.

The reafonisbecaufe ^e Second [landing farther off, cometh
to the Eye "with a lefTer angle , tvherefor^j, he cannot be [een
fo evidently as the F irft, the fame reason there is of the Third> &-c<

The fame is alfo meant fide-long, wherefore what-
foever Tainters have obferved this Doctrine, have be-
came excellent, and nothing inferiour to the chief Majlers
of this itArt, as Le: Vincent with divers others named be-
fore, together with fac\ Tintoretto *5\4arco de Scina^,
Frederick ^aro^i of Vrbine, Taulrn (^aliarius o f Verona, Lu-
cas (jangiafus, thcLtajfans, and dmbrofe Figinm.

3\(o\i> the tohole DocTrine delivered in this prefent Chapter it
( for the mofl part) taken out of Ariftotle, Alhazen, Vitel-
lo, Thomas Aquinas, and (to conclude) out of all the befi
Philofophers WDivines, (yehofe Opinions 1 approve of) and
thus much may befpokenfor the Opinions of other *ZM[en.

Of the Vertue and Efficacy of Motion.

IT is generally confeffed of all Men, that all fuch
<JMctions in TiBures, as do mod needy refemblo
the Life, are exceeding pleafant, and contrary-
wife thofe that which do farther!: diffent from-, the
fame, are void of all gracious "Beauty, committing the
like difcordin Mature, which untuned firings do in
an injlrument. Neither do thefe motions thus lively imi-
tating ^(ature mTiBures, breed only an Hye-pleafing con-
tentment,

Of Anions and Geftures. 45

tentment, but do alfo performe the felf famo effetlts >
which the natural do, for as he w hich laugheth, moumetb,
or is otherwise effected, doth naturally move the behoh
ders to the felf fame pafiion, of mirth or forrow, fo a picture
artificially exprefling the truo natural motion? , will
( furelyO procure laughter when it laughetk, penfivenefs
when it is grieved &c. And that which is more, will
caufe the beholder to wonder, w\\zr\itWonderetb todefire
^beautiful young womm to his Wife> when_^ he feeth her
painted naked, to h a v e a Fellow feeling w h en_> i t i s of flitted 3
to have an appetite, when^ he feeth it eating of dainties,
to fall a /Jeep at the fight of a fweet Jleeping Ticture, to be
twoW and )w furious when_> he beholdeth a battel moft
lively reprefented, and to be ftirred with difdain and
wrath at tho fight of Jhameful and difhonefi actions ,
All which /w/tfj aro ( in truth ) worthy of no lefs
admiration^ then thofe miracles of the antient Mufi~
tians, who with the variety of their melodious harmony i
were wonf toftir Men_> up to wrath and indignation, love^
Warr, honourable attempts, and all other affections as they
lifted; or thofe ftrange conclufions of the ^Mathe-
matical motions , recorded of thofe undoubted wifo
Men, who made ftatues to moveoi their own accord 3
as thofe o£T)edalus, which ( as Homer writeth) came
to the battel themfelvesj or Vulcanm Tripodes mentioned
by oAriflotle, or thofe guilded Semtors which walking
up and down_> at the feaft of farbas the Cjymnofophift t
ferved at-jtheTA, or thofe antient^ ones of Mercury
in JEgypt, which fpake, &c

In which kind of artificial motions , Leonard Vincent
was very slt^lfull , ( who as his Scholar Signior Fran*
cefco *D\delizi the great Limner verifies ) invented
a certain^ conceited matter, whereof he ufed to make
"Birds that^ would fly into the <J[ir , and madc^?
?u moft artificial Lyon , which being brought^ into

M 4

46 Of A6tions and Geftures.

a large Hall before Francis the Firfl King of 'France of that
name, after he had 2u while walked up and down_>
flood dill opening his Ttreaft, which was all full of
Lillies and other flowers of divers forts , at which fight th^j
Kjn^ and other fpeBators were rapt with fo great admira-
tionthat they then eafily believed, that aJrchitas Taren -
thim his toooddenT>oDe flew, that the bxa.zcn^'Diomedes ,
nientio n ed by Qafiodorm, did found a Trumpet, that a^
Serpent of the fame metal, was heard to bifs, that cer-
tain^ Birds fung, and that aAlbertus ^Magnus his ^ra^«
ii&W fpake to St. Thomas of /%/»*, which he brake, be-
caufe he thoughts it the -Devil, whereas indeed if
was a meer (^Mathematical invention ( as is moft mani-

fefU

'But to return thither where Heft, I am of Opinion that info-
much asthefe Motions are fo Potent in affecting our Minds,
when they be moft artificially counterfeited, we ought for
our bettering in the knowledge thereof, topropofe unto us the
example of Leonard Vincent above all others : Ofwhom_»
it is reported, that he would never exprefs any motion^ in a
Picture, before he had firfl carefully beheld the Life, to the
end he might corner as neer the fame, as was poflible : whereunto
afterwards joyning Art, his Vi&uresfurpafledtbe Life.

This Leonard ( as fome of his Friends, who lived in__,
his timo have^ given.; ouO being defireous to
mako a Teece wherein he would exprefs certain-*
Qhtom laughing (although he never perfected it-j more,
then in the Firfl: draught ) he made choice of fomo
Qownes for his purpofe , into whofe acquaintance after he
had injinuatedh imfelf, he invited them to ft feafl, amongft
other of his Friends, and in the dinner, while he entred
into a plea/ant vain, uttering fuch variety of merry
conceits, that they fell into an exceeding laughter{ though
they know not the reafon thereof, Leonard diligently
obferved all their (jeftum, together with thole ridictt*

lous

Of Actions and Gefbres. 47

lousfpeeches which wrought-* this impreffion in theirJ
^Minds, and after they were departed, withdrew
himfelf into his £ hamber. And there portraited thern^
fo lively, that they moved no lefs mirth in the beholden,
then hisjeftsdid in them at the banquet.

They add moreover that he took fpecial delight, to
behold the(/eJlureso£ the condemned, as they were
led to Execution, to the end, that he might" mark the
contracting of their browes, the motions of their Eyes,
and their whole Body. In imitation^ whereof, I hold'
it expedient for a Tainter, to delight in feeing thofe which
fights cuffs, toobfervethe£)tf difrhy murtherers, the
courage otwrafilers, the actions of Stage-players, and'thc^
inticing allurements of curtefans , to the *«*/ he be not" to
feek many particulars, wherein-, the very Life and Soul
o£ painting cenfijleth, wherefore^ I could wijh aff'&Wen care-
fully to keep their Brains waking, which whofoever JJjall omit
hu invention-j (out of doubt) will pep , ftudying perhaps Ten
Tears about the action of one Figure, which in the end mil prove
nothing-worth, whence all famous inventors, for the avoid'mo
of fitch grofs defeds, have the rather /hewed themfekes fub^
tilo Searchers out of the effects of nature, being moved
thereunto by a fpecial delight of often feeing, and continually
pradizingthatwhicbtbeji bav<u> preconceived, Jo that who
fo kgepeth tkts Order, fh all unawares attain to Juch an habit of
practice, in lively exprefiing all A&ions WGefhires,
beftfittinghispmpote, thatitwill become an other nature.

And whofoever shall diligently confider C*far Se*
ftius his admirable worlds > wherein^ all the aclions are mofl
naturally appropriated to the SubjeB, will eafily concludo
that he trod in Leonards fleps, and for this caufe was he
highly efteemed of Raphael Vrbine, unto whom_> they fay
hewaswonf ;ey%/ytofay often, that if feem'ed a_,
very ftrange thing unto him, that they two bein^ fUch
neer Friends, in the Art of Tainting, yet fpared not"

M 2 each

48 Of Aftions and Geftures.

each other when they offended , a fpeech farely well
befeeming honejl men, albeit they lived together in
fuch fweet emulation , which humour if it wero to bo
found in thefe our T>ayes, the World might be repu-
ted right happy, but now malicious envy ( to our great dif
advantage ) taketh place inftead thereof, c5\4mifiring
M atter to ignorant and abfurd people , infolently to disgrace
and carp at other Mens rare pcrfeBions.

Of the 3\Qcefsity of tZMotion.

THe order of the place reqmteth, that I should con-
fequently fpeak of Motion it felf, namely with
what Art the Painter ought to give Motions beft fitting
his "Pictures , which is nothing elfc but a correfpon-
dency to tho nature of the proportion of the forme and
matter thereof, and herein confifteth the whole fpirit,
and life of the Art, which the Painters call fometimes
theory, fometimes the grace, and fometimes the ex-
cellency of the Art9 for hereby they exprefsan evident
difiinclion between the lifting and the dead, the fierce and
the gentle, the ignorant and the learned, the fad and tho
merry, and ( in a Word) difcover all the feveral pafiions,
and Cfeflures which Mans Body is 3b\e to perform, which
here we term by the name of Motions, for the more-P
Jignificant exprefling of the Mind by an outward and bo-
dily demon fir ation, fo that by this means inward motions and
affections may be as well, ( or rather better )fignifiedzs by
their speech, which is wrought by the proper operations o£
the Body , performing juft as much as is delivered
unto it from_> the reafonable^j Soul, ftirred up either
unto^oW or bad, according to their private apprehenfions.

Which things, while all good Painters propofe to
themfelves, in their Works, they exprefs fuch admi-
rable fecrets of JS(ature > as we fee, which being moved

by

Of Anions and Geftures. 49*

by that (lining vertue , which continually lying hid in
the hart, is outwardly shewed forth in the Body, by
extending her branches through the exteriour z5Ad embers,
in fuch fort, thatr' they may alio rece i ve motion, hence
fpring ihofe admirably motions in Ticlures , which ap-
pear as dfoerfe as the pafiions whence they have theit-r
original, are different, of which point fomcwhat shall be'
(aid in this enfumgTreatife.

Now the perfeB knowledge of this motion, is ("as hath
been shewed ) accounted the mod difficult part of the
art, and reputed as 2lj divine gift. Infomuch, as here-
in alone confifteth tire comparifon between Tainting
andToetry, for as it is required in a Toet, that betides
the excellency of his toit , he should moreover^ be fur-
nished with a certain propenjton and inclination ofW/, /w-
citim and moYmg him to wrfify, ("which the antienf cal-;
led the fury oi ^Apollo and the eSMufe? ) fa like wife a1
Tainter oughv, together with thofe natural parts which
are required at his hands, tobe furnished witha/?*-
iural dexterity and inborn/light of exprefkng the principal motions}
even from-/ his cradle; otherwise it is a very hard (if
not impoffible)^wwr, to obtain to the abfolute^r-
feHionof this drt;

The truth whereof, experience it felf may teach us:
Infomuch as there both have been, and are many ex-
cellent T aimers , who for their., extraordinary skill in
the art, aremoft highly efteemedof all Men, as being
able to make fweet coloured piBures , having their loyns
and joynts in all points anfwerable to the rules of propor-
tion, understanding ^Anatomy and painfully lightned
and Jhadotoed , but becaufe notwithstanding all
their care an dinduflry in this behalf, they could never_/
befo happy, as to attain unto this faculty., Theyhavo
left their t»orl{s to the view, and hard cenfure of poflerity y
only becaufe they exprefTed unfutt able and lame (je flures-

N i#

50 Of Anions and Geftures.

in their TiBurcs, which they had flolen our" of other
Mens inventions : namely, out of theirs who wero
naturally indued with that-j grace, and perfwadin^ them-
felves that thefe would very well fcrve their turns:
they imagined frxzh ABions and (jeflures in their own "Pic-
tures, as being ufedbefides the purpofe, for which they
were VirrXinvented, could nor" be approved for <?ood, be«
caufe they offended in_j divers circumflances , whereforo
thofe unfortunate painful Men ( who notwithstanding in_^
fome other^ parts of the art, be fufficiently skilful ) al-
though they can_j imitate the ^dllions and Cjeftures of o-
ther inventors, yet shall they never be able to make a_>
commendable Hiflory , becaufe they be naturally disfur-
nifloedof that inborn facility and inclination.

Now oru the contrary part, I deny not, but thofe
who are furnished with natural invention 3 may wanf_»
that patience in_> their wor\, which the others have^.,
which propriety arifeth from_> the multitude of theirs
continual inventions, and ftirring apprehenfions : Info-
much, that before they can^ through lyfini/h or compkat
any one 1>ody or zSlBion, infinite others arifein_j their
fantafie, fo that by reafon ofthegrear^//^ they feel
in their invention, they cannot hawcthe patience to finish
any thing they take in hand.

But the moll abfolute and compleat Tainters ( who are
nor fb much inclined by nature-, as perfecled by art}
endeavoun, to cboofe out the belt ABions for every
purpofe , in reftraining the luxurious fury of nature, by that
deliberate difcretion which they have in_> their Idea, by
the benefit whereof, they fini/h their TiBures with de-
light and contentment, alwayes exprefing in each member,
a»> certain hidden refemblance of theprincial motions, where-
fore thefe alone carry away the commendation of the^
profepon which is nor' granted to thofe furious mad-caps ,
byreafon-jof their impatiency, nor yet unto the former

over

Of Actions and Ceftures. jr

over diligent plodders , becaufe they have not the natural
biowledg^j of thefe motions , and therefore cannot" ex*
prefs thcm_^ in their Doork.s, as thofe natural inventors will
do, with Three or Fourfirokes, whereforo they be-
come inferiour: lb thao as well the one as the other,
mud needs give placo to the inventor, who wifely
joyneth the industry of art, with the gift of 'nature.

Notwithstanding, I am of Opinion, that" it is po»
ffibloto attain unto this fo excellent a faculty, (though
perhaps not" with that Jpecial eminency of natural facility, )
as by industrious Jludy in_-» the tyotoledge of thefe motions »
and the a*«/<?x whence they proceed. For from hence a^
Man may eafily attain^ to a certain under/landing, which
afterwards putting in practice with patience, together
with the other points, he may undoubtedly proDe a ju-
dicious inventor, who never had any extraordinary^-
tural inclination , my meaning is, that_j fuch an inventor,
as o-uideth himfelf by under/landing , shall attain^
to better perfeclion then the other, who is naturally in-
dued with the dexterity, without induflry and patience:; for
example, if a Man shall diligently perufe the whole
Hiftory of £>//?, out" of doubt he shall gather tho
true Idea and Svtethod, how he oughts to reprefent the
motions of £>//?, the aApoftles, the Jews, and all tho
reft, who had any part in_; that cruel Tragedy, fo fuffici-
ently, that the <£Mind of the beholder shall be no lefs
mmd to /?i«j> 'w* and forroiv, at" the yJg^f of the piBures
then Men-; are ufually at the reading of the Hi/lory,
fo that by this means he shall shew in_^ Judas-, Violent,
offenfhe , brutift , buifte, and distempered motions , and in_^
Cbriftbeing full of patience, remits, and gentle, reprefent-
incr in_j him, as in a glafs that Jtngular humility and patience,
wherewith be reconciled us unto his Father: All which ,
notwithstanding they may be fufliciently drawnu
out of tho reaaing bf the Hiftory, yet for more eafe

N £ fak$

$1 Of Actions and Geftures.

fakg, they may be taken from tho accidental examples in
the living, imitated with great felicity, and afterwards
induflriou/ly and artificially exprefled, by cauhng tho
abundance of his diligence to appear ; in ftirring tip affeclions
of piety and forrow ( as in a pcece^j of tho pa/lion ) or
othen, affettions, as the Hi/lory he hath in hand, shall re-
quire.

3\Qnv concerning the way and manner how thefe Actions
are to be given, according to the dherjhy o/Paffions and Af-
fections, which at ^undry times, upon /enteral occafions may
move Mens M inds ; / bope^j, in this Treati/eto/loew evident^
examples , although they be fomewhat hard and drawn from-j
the fecrets of natural Philofophy , a thing which might feem-,
to require a-> Man '/riper Years , then Jo young a Man
as my felf, wherefore I mu/t crave pardon for break[no> the
bounds o/Modeity, in undertaking the handling thereof, had I
not been prompted unto it by the Painters , (it being of
fo great ufe and importance ) howbeh , If neither in that which
hath been already fpo\en, I have fufficiently laied open this
point-', nor hereafter [hall be able to deliver the Method
fully, which I promifed , yet mtwithflanding this my pains is
not to be contemned , infomuch as it will, (at the leaf, ) pre-
pare aneziic, free and Methodical paffage for emery Man
to exercife bis Wit, which mu/t needs prove a->mojl fure and
ready way ; infomuch as all the mofl Famous Painters have
been direBed thereby, whowhen they went about to counterfeit
a?iy ftory , Fir ft conceived the general forme thereof, and
then gave to each Figure his peculiar Actions, proporti-
oning, difpofing, and guiding them by difcretion, ac-
Qompamedwith natural felicity.

Now amongfl: the worthy T aimers who excelled
herein, Raphael Vrbine , was not the lead, who per-
formed his IVorV^, with a 'Divineknid of <t%fajefly\ nei-
ther wzsTolidore much behind him in his i^/W, whofe
"Pictures feemed as it were pafing/urious 7 nor yet Andreas

sZMonta*

Of Aftions and Ceftures. g

n5Montagnea-> whofe vain shewed a very laborious
curiofity ; Nor yet Leonard del Vincent, in whofe do'rngi there*
was never any errour found in this point : Whereof a-
mongft all other of his Tpor^r, that admirable laft fup~
per of Qjriji in %efeB. St. t5\ima de gratia— inzSMdane,
maketh moft evident^ proof, in which he hath fo
lively exprejfed the pafiions of the <zApojlles minds in theirs
countenances , and the reft of their 3Body , that a_> M an
may boldly fay, the truth was nothing Juperiour to his
reprefentation, and need not bo afraid to reckon it a*
mongft the beft worlds of Oyl-painting, ( of which k ind of
painting fohn Van Syc\of Maefych^ born in the Year 13 66.
was the firft Inventor) far in thofe &fpoftles , you might
diflinclly perceives admiration, fear, grief, fufpition, Icnte&c.
all which wero fometimes to be feen_^ together in
one of them, and Finally in fudas a Treafon-plotting coun-
tenance, as it were_; the very true counterfeit of a Traitor, fo
that therein he-> hath left & jufficient argument of hisjrare
perfeblion, in th^jtrue under/landing of the pafiions of the
Mind, mvw/?///WoutwardlyintheBody, which becaufe
it is the moft neceffary/wt of painting, Ipropofe (as I
fay ) to handle in this prefent Treatife.

I may not omit ^Michael <iAngelo in any cafe, whofe
sk[ll and painfulnep in_j this point was fo great, that his
Tiftures carry with them-> more bard motions, exprefled
after an unufual manner, but all of them tending to a_>
certain flout boldnejs; And as for Titianhzj hath "worthily
purchafed the name of a greater T aimer in this matter ;■ as
his Tttlures do fufficiently witnefs ; in_-» each whereof,
there (hineth a certain moving yertue , fceming to incite
the beholder, unto the imitation thereof, of whom this
faying may be well verified, that_> he was beloved of
the World, and envied of nature.

V inally i (faudentim (though he be not much known)
was inferiour unto fete , in giving the apt motions td the

O Sairiii

54 Of Aftions and Geftures.

Saints & dJngels, w ho was no t~> only a very witty painter,
as I have elfewhere shewed , but alfo a mod profound
Thilofopher and zfMathematkian , amongft all whole all
praife worthy worlds, ( which are zlmoA infinite, efpecnlly
in this point of motion ) there divers *5\dyjleries of Chrifls
paflions, of his doings , but chiefly a crucifix, called Mount
Calvary a tr" th e Sepulchre of Varaflo, w h e re he h ath m a d e
admirable Hor[es and Jlrange Angels, nofonly in painting
but alfo in_^ plaifiich^, of a kind of earth , wrought-; moft
curioufly with his own hand, di tutto relievo, through all
the Figures.

Befides in the Vault of the Qiappelot St. Mary de gratia
inMilane, he hath wrought mo ft natural aAngels, I mean
efpecially for their a&ions , there is alfo that? mighty
Cube of St. Mary de Sorono full of thrones of Angels, fet out
with habits and all ions of all forts, carrying diverfity of
moft Jlrange Inflruments in their hands, I may not con-
ceal that goodly C^appeK which he mado in his latter
time, in the (^hurch of peace in c5\4ilane , whero you
shallfindfmall/#/?or/«of out Lady and foachim, shew-
ing fuch fuperexcellent motions, that they feem_> much to
revive and animate the fpettators.

Moreover the /lory of St. %pccho, done by him in_>
Vercelli, with drum other Mwfy- in thaf^/Oj although
indeed all Lomhardy be adorned with his moft rare »orv|f,
whofe common faying concerning this Art of motions,
I will not conceal; which was, that all painters delight
to (teal other Mens {inventions, but that ho himfelf was
in no great danger of being detelled hereafter. Now
this great fainter, although in reafon, he might for his
discretion, mfdome, and worth be compared with the a-
bove named in the Firft Treatife : Yet notwithstand-
ing is he omitted by Cjeorge Fafary , in his lives of the
Famous T aimers, Carvers, and Architects , an argument-'
Cto lay no worfe of him that he intended to eternise only

his

Of Aftions and Geftures. $j

his ow nTufcanes, but I proceed to the unfolding of the
original caufes of thefe motions : And Firfl for our better
underftanding , I will begin with thofe pafiiom of the
mind, whereby the "Body is moved, to the performance of
his particular ejffeBs.

Of the pafiiom of the Mind, their original and difference.

THe pafiiom of the mind, are nothing . elfe but cer-
tain motiom, proceeding from-' the apprehenfion of
ibme thing, now this apprehenfion is Threefold, fenfitive^
rational, and intelleBual, and from thefe Three, thero
ar ife Three pafiiom in the mind, for fometimes we follow
fenfitive apprehenfiom , and then_> we confider good and
evil, under the shew of that which is profitable or unpro-
fitable, pleafant o r offenfive ; a nd thefe are calk d natural of-
feBions, fometimes we purfue rational apprehenfiom, con-
fidering good and evil in manner of virtue or vice, praife
or dflraife, hone/ly or difhonefiy ; and thefe are reafonable^j,
affeBions, fometimes we imbrace apprehenfiom intelkBual,
regarding good and evil, as true and falfe, and thefe areJ
intelkBual apprehenfiom .

Now the inferiour pomrs of the mind are of two fortr,
either defire or anger, and both of theiere^tf that which
feemeth good or bad, diver fly, for the defiring part either
confidereth good and. bad abfolutely, and fo if caufeth
love and liking, and contrary wife hatred, or elfe it reflects
good as abfent, whence arifeth defire or longing, or eifo
evihsabfent, buf at hand, and fo it breedethym-, dread ^
&c. or both of them as prefent, and io from the Firft
cometh joy and delight, from the^ latter heavinefs and
ar/V/, the angry faculty confidereth good and *>//, as it is
tajf) or_. hard to be attained unto , or avoided; whenco
fpringeth fometimes confidence and hope, fometimes au-^
dacity, fometimes diftrufl, and fo dejferation, &c, fome-

O % tiifiiQS

$6 Of Actions and Geftures.

times it" is moved to revenge, and that is in_j regard
of evil pail, as injury or offence received , and fo it breed-
cthanger, by that which hath hitherto been_> fpoken
ir_> is evident, that there are Eleven^ pa/lions or affec-
tions in_j the mind, which are thefe, love> hatred, de fire, fear,
joy, farrow, hope, dijj> air, audacity, timeroufnefs and anger, from
which there do confequently arife fo many forts of ac-
tions in_; the^rf, as there may be affections expreffed in_>
Mens "Bodies, wherefore we ought^ carefully to ob-
ferve the motions which are outwardly expreffed, in_» fuch
fort, as they do manifejlly point to the roots, whence they
faring, and difcover the caufes from which they proceed,
diftributing them and difpofing them accordingly iiL^the
Bodies, or Bhyfiognomies which whofoever shall fail in*
shall (queftionkfs*) wholly pervert the Order of things, con-
founding the "Beauty o£Hiftories, whether they be Fables f
or other Inventions, whichare tobe painted-

Hoto the Body or Bhyjtognomy is altered by the Tafsions of the mind,

TT is a clear cafe, that themind according to the divers
* affeUions ( whereof I fpake before ) by reafon_, of the
apprehenfions both fenfible and imaginative ) doth diverfly
change arid alter the Body with fenfible alterations, by vary-
ing the accidents thereof, and producing fundry qualities
in_j the members, fo that in mirth, thejfmts are enlarged,
\VL-jfear they are contracted, in bafhfulnejs they fly up to
tho Brain, again, in joy the heart is extended by degrees,
in_; difrkafure it is drawn in by little and little, as likewife
in_j anger and fear, but fudden anger and defire of revenge
procureth heat, blu/hing, bitter tafl , and tho/«* of the
Belly , fear brings coldnefs , the pa?ning of the heart, tho
failing of the voice, and palenefs, heavinefl cauteth foeat-
ing, and 2u blewiff palenefs , mercifulnefs breeds a certain
heavinefs, which oftentimes hurteth him thatis moved

to

Of A&ions and Geftures. $f

tomercy, which appeares ordinarily in lowers, in whom
there is fucha Sympathy, that whafcfoever ond indureth i
the othen, like wife /«^re/A the fame j /fc/>/jy caufeth
drynefs ind blac\nefs-, defire and /ow, breeds fundry<tf/WT,
fometimes ra/, fometimes/^/,?, as we daily fee inlowrij
efpecially in their., meetings.

Now all the fepafliom when they be exceeding vehe-
ment do fometimes bring Death, which happened to
Sophocles and Dionyfius the Sicilian Tyrant, when ho re-
ceived the News of a defperate YiBory . the like hath
befallen dfoers&hers through hemineft and fundry other_>
row^j have proceeded from_, the like pajsioms when
they aflaulted z5Mens minds, whereof we have «fitor.r
examples in /lories, which I mean not" to /land upon as
being a_, thing more curious then neceffary to our pwfofc
only I w;ll jhttoi of what po^r and efficacy, fierce^*
math joyned with a_> magnanimous audacity can do, by the
example of (Alexander the Great, who being over-*
matched by his Enemies in India, was feento rw^ forth
from his 'Body, fire and light, the like whereof we read
of the Father o£ Tbeodoricus , who by the like vehement
effeB, breathed out^of his heart, as from zhurnino fur-
nace, fiery ffar\\es , which flying forth jhon and made a
foundinthesdir. Thus therefore we reprckntr all tbefe paf-
lions inaftory, together with their convenient and proper
Motions, Xeefet forth that great variety -which rwrketb fuch de-
lighrWpleafure, that it zllmeth our Minds unto it* with
a-sfaeet %ind of compuKion, noothemife then mofl deleBable^j
Mufick enchaunteth the Eares of the Hearers^ which (as they
write ) is fo forcible that way, that a certain Mufitian boa/led*
that by the power of his notes, he caufed^Men to grow fori-
ou s, and afterwards come to tbemfehes amn,

Of

?8 Of Aftions and Geftures.

Of the tSWotions procured by the Seven planets.

A Mongft the Seven (jovernours of the World ("which
^*- t5\4erc: Trifmegi/lus callcth'Planets, as Saturn, fupiter,
Mars, Sol, Venus , Mercury and Luna) the chief and principal
is Saturn, which hath alfo received divers names of
antiquity, as Heaven, Skh-bearer, the father of the pods,
Tatront^> of time, and from his effeBs here below: wife,
intelligent, ingenious , the feed of gratf profundity , the/teor
of jfecret contemplation, the imprinter of weighty thoughts in_j
Men, a deflroyer and preserver, the SubjeSlor of power and
w/^k, thckeeper of hidden things, and the zAuclor of finding
and loofing.

His influences arc partly good, and partly W, accord-
ing to the difpofnion of him thaf receiveth,, them, as
weeping, melancholly &c. he caufeth religious aBions, as
to to the ^we> look down upon the 69*6, pr^, and
fuch like wof/owj of the 2?r&*/2 and /*ke, common^ to
thofe which pray, or other au/lere and fatyrical ~E ellows
with /&&/ declining, infixed on the earth, wafting
himfelf withafurioas/face, and examining his own
fieech, with hanging ///tf. Moreover, he caufeth a cow-
flexion of colour between blacky and yellow, meager, diflorted,
of an_> hard skin, eminent-' veyns , an_> hairy TSody y
fmall^, Eye-brows joyned together, athin beard, thicJ[
lips, with looks caft down , an heavy gate, enterfairing as
he goeth, bcfides he makes a Man fubtil, witty, a way-lay-
er, and murtherer : Now accord ing to this forme of So^k,
and thefe motions, you may framo any "Body fubjecl
unto Saturn, that is of the temper and complexion anfwer-
able to the nature of Saturn, fo thaf by that which hath
been faid concerning this Tlanet in particular, as
alfo by that^ which shall be fpoken feverally of tho

reft,

Of Aftions and Geftufes. j$

reft, we may gather one general %ule , as touching
the oArt of motions in oun, Ti&urcs, as well in refpec~t of
the quality of th^j humour, as of the motions thcmfelves

fupiter.
The Second "Planet is fupiter, fo named of the La*
tines, as you would fay f titans Tater, the Father., of
beneficence and liberality, he is other wife called of the;
!Po#j-, magnanimous, the thunderer and lightner, inVmcibl^j,
altipotent, magnipotent, good naturd , fortunate, fweet, pleafant]
the belt tpell^iller, boneft,neat, of a good gate, honourable^
the <*«*W ofmirtb and judgement, rife, true, the reveakr of
^4 the chief judge exceeding all the ?/«/ in goodnefs,
the beftoyner of riches and moifdome: the diftofitions and <$£-
ffio/w proceeding from_, this TV^ze* are, a wm> and /»-
geniomcQuntenance, aclions oi honour, Jhaking of hands, after,
tho manner of thofe which entertain grangers , com-
mending and jpeaking Men /<»r, with tap and ^«e«, lifting
up the head as thole ufe which pray.

Concerning the complexion, difeo/ition and feature? of
the Body, hemakcsaManof a mixt [anguine* betwixt
tohite and red, of a delicate Body, good Jiature, either bald
or elfe high-foreheaded , iy>w fomewhat fcfg, ^W «o/Mf
andunequal, the cheekteeth fomewhat big, a curled beard,
deceitful and fair conditioned: All wThich correfpon^
dencies betwixf the qualities of the mind, and the cori-
fiitution of the Body, together with their exterioun,
offeclions, if tho T aimer shall with judgement confiderand
cbferye, they will breed both delight in him, and efh>
mation to his <Ulrt, teaching him_> farthermore the
true difference between an honejl man and a varlet, one
that.; is merry, and a melancholiy Fellow, a Man of his
hands, andacoward, and fb forth, according to all thofe
qualities naturally proceeding from fupiter, See.

£ 2 j\4aff

do Of Addons and Ceftures.

z?Mars.

The third Timet is Mars, and by the; Toetsisalfa
called z5\4 a^ors , the god of warr, bloudy,armipotent, en/ifer,
magnanimous , bold, inconcpierable , full ofgenerofity , of invin-
cible power , o f impetuous pre fence , unrejiftable > a fubver ter o f
the Jlrong and >ra/g/tfy, andadepofer of ^/«g/: he is the
Lord o£ heat, burning and /flaw* thcT lanet of bloud, brawls
and violence, incenfing, contentions and fco/«/ j^/VAj, and ( in_,
a word ) broching all difordered, inconfiderate and ^^
aBions: his Cjeftures MC terrible , cruel, fierce, angry, proud ,
hafty and violent: he caufeth M en to be of a red complexion,
a deep yelloDp hair , round Vifaged i fiery Eyes, a cruel and fierce
countenance, by reafon-> or his intemperate k} info-
much that-* he is reputed hot and dry, in the higheil de-
gree,bearing fw^y over red choSer.

Sol. N

The Fourth 'Planet is Sol, which hath divers othen,
appellations as Thoebm, ^Apollo, Titan, Tean, Horm, Ojiris ,
iAraienent, Fiery , Golden fiamiger , %adiant, Igni-comus, the
Eye of the World, Lucifer, Multifidus , Omnipotent, tho
Trmce of Starrs,, the grand Seignior, he is of good 3\Qtture,
fortunate, honefl, neat, prudent, intelligent, wife, the govemour,
the bejioiver of life upon all Bodies indued with Sou/,
■L'bfcuring the light of tho other Starrs with his ex-
ceeding brightness, and yet" imparting unto them all
that^ light they have , whence in refpecl: of the night
he is called Dyonifius, and of tho day <±Apollo, as you
would fay pellens malum, the difte Her of eYtl, whereforo
the (^Athenians called him ctM^acuov, &c.

He was named Thoebus by reafon^ of his "Beauty, and
fttiU becaufe of the violenrte he ingendereth in
thoic'Bodies, over which he hath dominion, and So/ for
the pyeheminence of his light •, wherefores the rfflyrians
named him_^ <tAdad, which fignifyeth alone, the Hebrews
Sbemefh', the zS\fotions proceeding from him are coura-

gtOHS,

Of Adions and Geftures. 6i

gious, honourable, majefeical , confederate and Wife- the colour
and hew which he giveth is brownifh, betwixt yellow and
blacky mixed with red, caudng thole which are fubjed
to him to be; of a low feature, yet of a comely per fonage,
bald, curled, with yellomfb Eyes, touching the atfe&ions
of their mind, they are con federate, prudent, trujly, vain glorious t
and magnanimous.

Venus.
The Fift Vianet is Venus, whofe denominations are like-
wTife divers , exprefled by variety of Sphhites ; as
chief, mild, fair, bright, white, pleafant, powerful, fruitful, tho
<JA4other o£ loye and beauty , the progeny of ages, the Firfl
^Mother otzZMm, she that Firft joyned both Sexes
together \n->love, the Queen of all joy, friendly , merciful $
ever, bountiful to Mankind, embracing all things
with her vertue, humbling the flrong and lofty, and ex-
alting the bafe and ma\, and directing all things; they
call her Aphrodite, becaufe she is faid to be born of the
froth o$ the Sea, andP hojjjborus, or Lucifer, when_>sheap*
pcareth before the Sun in^ the Safe, and Hcjferus when
shefolloweththeSzw, her motions are pleafant and mirths
ful, beinc* given-Jto^ort/, dalliance, dancing, and embrace '-
iws, she makes the countenance amiable, pleafant, and
merry, working a kind of whitenefs in_j the Body, by tea-
fon_^of her cold and moijl nature (refembling tho water
which whenit_> is congealed and frozen, looketh white )
yet^ prettily mixed with red; shecaufethMen^to be
prcver of 'Body, fair and round vifged, with blach^rowling Syesi
brown hair, of a lovely difpofition, gentle, bountiful, courteous,
affable and gracious.

z5\£ercury.

Mercury is the fixt Vianet, and of the antientr' is eaU

led the Sonne of ffupiter, the Herauld and prolocutor of

the gods, the CJracians call him fiol&s, which fignifyeth

fining, ferpentiger, caducifer, light-foot, eloquent, gainful, Wifet

6i . Of A&ions and Geftures.

reasonable, Jlrong, potent as well on^ the good as on the bad
part, the notary of: the Sun, fupiters herauld, having com-
merce with the fupemal and infernal gods , male with the
flw/e, and female with the female, moft fruitful, an Her.
maphrodite: Lucian calleth him the Vmpire or the gods, ci-
thers Hermes, or the interpreter, and the expounder of the
mifleriesof nature-, his motions are inconftant, flipper y, mutable ;
/?ro»g, /rw£p, prowp? and rao/y, he caufeth a complexion
neither very n^/7e, nor very fc^> along vifage, an /:>/oA
forehead, {mallow, not altogether blacky an evenS\Q)fe
and fomething /owg, thin hard, long and /lender fingers:
the operations which he caufeth in tho minde are
nitty , j«M?, 6«j), floarp, wary, and fruitful.

Luna.

The Seventh and laft P/<w# is Luna, of tho anti-
ents called Vhcebe, Diana , Lucina , Vroferpina , i&c^ ,
Menjlrena , Triformu , 3\(octi Luca , wandring , filent , double
homed, fafe, night walking, cornigero-j, Queen of Heaven, the
firft of the^ goddejfes, Queen over mens minds, Miftris of
all the Elements , she to home the y?^rx have relation,
and the Elements are in_» fubjeclion, at whofe beck
the lightnings^/'^, and feeds fpring, theMo^r of com,
Sifter of Vhatbus, the tranfporterof light, from one pla~
net to another ; imparting her light , to all the other
flam, and retraining their divers courfes ; the Lady
ofraine and moiflure, the beftower of riches , the 3\Qtrfe
of mankinde , the ruler of all /&#«, pitiful, merciful, the
preferver of men_> both by $ea and LW, mittigating
tho tempefls at Sa* , the fubduer of carnal affedions,
Queen of the world, and vanquisher of Hell, whofo
Majefty the birds of the aire, the beafls of the fields, the
Jerpentes in^» the roc^r, and caves of the ewflk , and the
fifhes of the fea doe reverence j finally the^ Enemie to
Thieves and "bAprtherers.

Her motions are moveable, beneficent, childifl?, fimple, ob-
livious,

Of Actions and Ceftures. <5j

liYious, and curious $ she makes a man_> of a pale comple-
xion, intermingled with red of a comely ftaturc, round
yifagedznd marked black[(h eyes, beetle brotves , tender and
foftflefh, the Qualities oi whole minds aro fatiability, fa-
cility, penfwenefi, affeUion of news , no ready gift in__> dii-
courfing.

And from_> hence fpringeththe whole variety of
all the other, motions beildes the above named of the
Elements, all which ferve for tokens, and Jignes where-
by we may the better attain to the knowledge of the na-
tures of people, and their^ affections and pafsions, anfwera-
ble to the venue and influence of the Tlanets, which the
antient hliathematitians have by long experience obfer-
ved, neither did thofe excellent Motijlcs <ull. Maonm,
aAbbasTritemius, and^i : Lullius conlidcr thcm_. to a-
ny other end and purpofe. WholoeveL therefore t
shall be throughly pofleflfed with thefe things, im-
printing them well in his mind, and proceeding ac-
cording to their direction in his PiBures, may aflurd
himfelf that_j hisworks will prove not" only commendable,
but even exceeding admirable, expreiTing in_j them
fadfiefs by Saturn, by jFupiter contentment, by aSAfars cruelty ,
by Sol magnanimity, by tt5\4ercury cjuidyiefs of ftirit, by V**
nus love and wantonness, and by Luna humanity and tenth*
nefs-, exemplifying moreover according to thefe Ob-
fervations, thefe and fuch liko effeBs] united toge-
ther, in the compounds ; all which the Antient M afters ,
carefully obferved, (as may appear, by their works)
which fufficiently declare, that" they both under-
flood thefe my/leriesi and took great/^/w iiu exprefling
them, whence it" is moft apparent, that" the knowledge
of thefe things, Cannot^ be attained anto* by the
mere praBice of Tainting, but" by the earned: fludy $fpkU
lofophy, wherewith the Antient" Painters were fuffici-
ently furnished ; and henco it is, that Michael Amflti

64 Of A&ions and Ceftures.

of late Years, being very skilful in_» thefe matters,
gave to the Devils ituhis laft judgement in the Faticane \
nor' only the aB ims and geflures of aAngels and nimbly
zndaBive Men, together with other earthly ornaments,
but alfo divers other Ioo\s and countenances, mod: fuit-
able to their wicked intents, as in his own difcretion
he thought' fitted; wThence we find (fharon and the
other Devils, to have feveral countenances, thowgh all
of them dreadful and malicious , in which point Leonard
Vincent was much renowned, and the other Five men*
tioned in the Second Chapter of this Treatife , who
were the very light and direction of all the other good
Tainters yxvhom I therefore pafs over, becaufe they are
recorded in the Ihes of the Painters , who were re-
puted little inferiour to }Aichael<tAngelo.

Hovp all the motions may accidentia befall any man though diver fly.

TTAving hitherto difcourfed of the motions arifing
■*■ ■* foom \:hc Elements, the humours and the £a?/!py?iW bo-
dies, as alfo how they differ each from other, accor-
ding to their feveral operations in men , and their *ari~
om effebls ; it remaineth thar I should now fpeak in
particular of certaine principal properties of thefo motions,
taking natural examples, ( as my manner is ) and applying
them^to the Tlanets , from whence this variety of
ejfecls and influences defcends, which particularity of
motions i£ itshall beexpreffed, itwill difcoverall forts
o£paflions of the mind in each 'Body or Thyfiognomy , but
becaufe each man is fubjeS to fome one of the Tlanets,
and therefore is more efpecially inclined to fome one
affeclion,it will not be ami Is to shew how upon occafion
any affeBion whatsoever may beftirred up in a Man of
any conditioner cotiftitutiom the maniftflation whereof, rife th
wholly from the Five Senfes, as the infiruments whereby

the

Of Anions and Geftures. 6$

thcobjeBsbe apprehended : as by the Eye w<u Ui nvi
fee thai_> which is comely and undecent; by the s"l[a-
Ear we hear founds pleafant and unpleajant , as praife and
diftraife', by the J\(oftrils we fmell/Wfand [linking, ftrong
and Jbarpjav ours , by the ta/?e we di{cern_>/*iw£J /ft^p,
unfayoury, thick^, fait, fliptu\, virulent, bitter, fat, ftrong, un*
pleafant, and^as aJriftotle faith ) hard and foft : Finally
by the feeling, we touch cold and hot, moijl and dry, as
alfo/W/?, /igfo, flippery, heavy , ^W, jo^, ^^"» /&«fer
and [ucb inequalities, from whence all actions y whereunto
any kind of 'Body is fubjeB, are cauf'ed, though more
abundantly, and more apparently in fome, then in
others, whence we are given to underftand, that_>
as thefe qualities are diftincT: between themfclves ,
and are feverally applyed to the TUnets, lb likewife
the ajfeel 'ions proceeding from them do vary, accord-
ingly as the fenfes , apprehenftons and paftions , together-,
with their objeBs , viz. colours, funds, fmels, tafts and
matters do differ.

Now although there be butJ one particular /;//?/;£/
in each private Man, which inclineth him to good or
evil, whereunto that" Free Cjovemour and ^Arbiter of
his affeBions mod naturally learneth, and from whence
all his ordinary aBions proceed , notwithstanding
there is no impediment why a_j Man may not be affecled
dherjly , by any of the extcriouv fenfes (fthe ordinary
instruments of all our operations ) by framing in his mind,
pafions anfwerablo to the objeB apprehended by his
fenfes, and fo caufe fuch like Actions to break forth
in him, as be repugnant to his particular inftinB, thzj

truth whereof we read \nT>avid Kins of the Hebrews ;

p
who was lafchionfly affecled , when from_> the top of

his Tallace, he beheld Sath/heba, bathing her felf naked;

and at the fame inftant was ftirred up unto cruelty m_;

commanding VrtM to be flam, although he were naiu-

R rally

66 Of Aftions and Geftures.

rally both a moft continent and clementTrince. A^ain his
Sonne Solomon the Wife, wasfubducd by his fen fe, and
bewitched by tho inticings of Concubines and Idolaters,
things much abhorrent-' from the Initinct of his nature:
And thus in perufing of Hi/lories, we shall find how
divers moHvaliant Trinces, have upon occafions proved
faint hearted, and been ftained w7ith covetoufnefs , many
pittyfulMen been given to cruelty, religious Men to
revenge and malice, chad Men to luxury, ftoutr Men to
cowardice, &c. obferving moreover the alteration of
mirth into for rovp, lamentation into laughter, covetoufnefs into
liberality, which I therefore omit-% becaufe we daily
fee lively examples of people fucceilively arfe&cd with
fundry vices, asrapines, grief, lovz_j>, dijhonefly, theft, murder,
hatred, revenge, trechery, tyrany,infolency,&c. and contrary-
wife with religion, mercy, loyalty, clemency, liberality, hone-
fly, victorious, defire^ of honour, &c as Thieves being
ashamed to lay themfelves open-; before compa-
ny, £oxl, fear of being difcovered, will make Tufair
fhevo of true Men ; and curtefans and light Houf-rvives, ijl,
the prefenco of other grave zShfatrons, will bare the
countenance of very honefi tvomen, concealing thein, ha~
bitual naughtynefs, for Fear of the difgrace and punijhment ,
which would otherwifo enfue; and fellones to avoid
the danger o$ the halter, will take upon them the habit of
honefi and civil Men.

Hence then the Tainter may learn how to exprefs
nor' only the proper and natural motions , but alfo tho
accidental, wherein confifteth no fmall part of the dif-
ficulty of the <$Arty namely in reprefenting diverfitks of
affections undpafiions in one Body or Face : a_> thing much
praclized; by the antient Tainters (though with greaf
difficulty ) whoever., endeavoured to leave no part of
the Life unexprefled. It is recorded that Euphranor
srave fuch 2u touch to the counterfeit of Tarn, that

therein

Of A6tions and Geftures.

therein the beholder might at once collecl, that he
was Vmpire of the Three goddejfes, the courier of Helena,
and the /layer ofzdchilles , and of Tarafim the Ephefian,
thatr" he painted the Idol of the Athenians in fuch forts
thathefeemed angry, unjufl, inconftant, implacable, gentle,
merciful, &c. again_> we read how 7"^ow.re'prefcnted
in Orejies, fury and grief mixed together-, and of ano-
ther who refembled in_-> Vlyjjes a diflemblingp^/Vtfo? : as
alfo of aJri/lides the Thebane, who(in_-» the Perfon of
a wounded Woman giving her child fuckj exprefled pain,
and fear fo lively, that it is hard to fay whether sho
were more pained with the fenfe of her wound, then a-
fraid, leaft her child lacking mi\, should fuck bloud;
who alfo is reported to have been-; the Fir ft that be-
gan to represent-; thefe perturbations of the zSMind, and
was afterward followed of the other T aimers, as a guide
herein, as it was once by chance foandupon afmall
earthen head of C&ri/Hn his £M/-fow/, mads by Leonard
Vincent himfelf; wherein you mighr' evidently per-
ceive, the fmplicity and innocency of a (loild, accompa-
nyed with under/landing, mfdome , and. Majefly: and al-
though it-' were the countenance of but a young and tender
Child , y ef it {eemed to shew forth a kind offage anti-
quity, much to be admired.

B

Of divers other neceffary ^Motions*

Efides the Motions already declared ar' large, for
the better underftanding of fuch other as might^
hereafter ferve for our purpoje, it is to boobferved,
that there aro certain others of no fmall importance,
which are-> to be referred unto that_j which is mod
comely, and agreeable to Mans Body , as well in_-»
refpe&of fuch effeBs as proceed from_>the fame? as
alfo in_j regard of the times and feafons, together with

R 2 tb#

68 Of Aftions and Geflurcs.

theconfideration of the objects, offering themfelvesto
our [enfe, for the better attaining whereof, we muft
in all tho nAtt'tons and Cjejlures-, make choice of' the
chiefefl and mod principal , fearching them_> out mofl
vidtcorgefr^ri diligently, and deducing them from tho
<idUf,ttHUc*?.b. circum/lances, which are found in the part
to be reprefentcd, as Leonard Vincent did in the Cartonc_j
of St. nAnne , which was afterwards tranfported into
France, and is now to be feen in z5\4ilane, with iAure-
litis LoVmus zTainter, in the border whereof, there are
many draughts, exprefling the great joy and mirth which
the Virgin cSMary conceived , when she beheld £o
goodly a_j £/)//^as £ brift born , confidering with hen,
felf that she was made worthy to be his Mother: and
likewife in_j St. Anne, the joy and coitientment which she
felt, feeing hen, daughter become the ^Blejfjed Mother of

god.

Moreover in-» that Piece which is to be feenin_,
the Qiappel of the conception in St. Francis Qhurch at z5Afi~
lane, where you shall fee how St. fohn "Baptifi kneel-
ing with his Hands together^, boned towards C^r/72;
which was an aBion of obedience, and ChildAik^^ reference,
a n d i n t h e Virgin , a gejlure of cbearful contemplation, w h i 1 eft
she beheld thefe aBions; and in the <tAngel, an aBion of
ojingelical 'Beauty , in confederation of the joy which
was to betide the world by this myjlery-, in C^ft as yef
a child divinity andtvifdome, where the Virgin Mary alfo
kneeled by holding St. fohn in her %jght Hand, and
ftretching forward htr Left Hand which wasforeshort-
ned,and finally the Angel holding £/>r//2in his Left Hand,
who fitting by, looked upon St, fohn and 'Bleffedhim-,
again, divers other Famous Tamters and lights of the art,
have obferved other motions, as contemplation in cafting
the Eyes u^ to Heaven, admiring tho Angelical aSMuficI^,
and neglecting for a time all Inferiour Mufich^ with the

hands,

Of Aftions and Gefiures. 8g

hands, inflruments, a ild o th e r earthly melodies $ wh i c h motions
wereexpreffedinthat^/wgw/dr/wreof St. Cec$ which
%apbJP aimed with Four other Saints, which "worsts now
to be found in-j'Bo/ognia at St. fohns in the mounti the
Agony alfo and forrow of the afflicled, which Anton: Cor-
reggio exprefTed moil artificially in his owru City, in
Grift praying in_, the (jarden j as like wife iwant , pant-
ing, fweating, fleeping, tbreatning, and the motion of tho
flaming fire : all which are molt /iw(ji expreflTed by them
itLjdivcrsplaces, and now to come to the "Poets, that_»
Which y/r/^o fpeaketh of his Orlando, may ferve for a
fit example herein.

His leogs and bands he /hakgs, and breaths iwithallj
whiles from his Face the liquid drops do fall.

And in_; anotherpW, of a Man grieyoujly difeafed, fa *
mifhed, and out" of heart, in the Perfon of the famo
Orlando, when Angelica found hirri^ lying upon the

Jhore.

'[Rough, grifly- hair d,Eyes (lairing, vifagelvdn,
Sun- bur nd and patch, and all deform' din fight i
In fine he lookt to make a true description
In face likg Death, in hew, likg an ALgy ptian.

And that of T>ant defcribing a Shipwrack in a greae
Tempeft at Sea, where the Men are faved.

And even as they, who panting at a wac(,
S cap' d from the Sea, and gotten to the {horej
<Turnato the dangerous "water, andloo\ bac\i

And thus much for examples, for he thaf would fee
clowns all the examples which would ferve for the shew-
ing, howinevery effeU we ought to choofe the moft
proper motions, without which the Tiilure will be of
fmall worth, should grow infinite ; we muft alfo havO

S re-

jo Of A&ions and Geftures.

regard to the feafons, for the Summer caufeth open, and
"Wearifom^j atlions , JiibjeB unto [beatings and redness ; the
Winter retrained, drawn in, and tremblings the Spring merry,
nimble, prompt, and of a good co/oar; the Autumne doubtful \
and moro inclining unto melanchoUy then otherwife,
notwithftanding if you be to paint a labouring Man,
you muft vvithoufany regard of the feafon( though
more of Summer then-; any of the reft ) represent him
with raifed limns and (krongmufclesfaetiing and /landing forth,
fweating and burning, efpecially in fuch as carry burdens,
draw great 'weighs, or ufe vehement leaping, "Walking, jeflino
with "weapons, fencing and fuch like exercifesi hftly, fleep cau»
feth no motions of vigor or force to be reprefented,but as if
the body were without///^; Wherefore we muft take
heed, we doe not ( as fbme ufe) give unto thofe
which fleep fuch kinds of atlions in their lying, as in
probability will not furTer them to fleep, as we fee oft-
times in Men lying athwart flones, benches, &c. being re-
prefented with their limns fupported 'by their own force,
wherein it is evident, that uxchTainters know not
how to obferve a "Decorum.

Farthermore> there are motions proceeding from the
Tafl, &s &2i\\y experience teach us, for foumefs and bitter*
nefs caufe the bending of the Eyelids, and other parts >
fweet and favoury, a chearful countenance •, the like of good
/metis, whereas contrary wife bad [metis mako us draw
in_> the ^(ojlrils, look afide, turnu the back^, with
wrinkled Eye-lids, Z^/almoftclofed, and mouth drawn
in_> ,* of hearing and touching , they alfo caufo di-
ftind motions in oiar_> Bodies, as for example, from fharp
founds and nolfe, rifeth fudden fear and affrighting, from_>
touching any hot thing, quicl^ and fyeedy motions, from touch*
ing cold things, refrained and fearful motions, as in_; fuch
in tho»/^r touch Ice or Smw. And io I conclude of
feeing, for in looking upon things exceeding bright,

the

Of Actions and Geflures. f\

the/jg^ is offended, and a Manwithdraweth himfelf
for fafegard in beholding obfcure things . the Eyes
arcjharptied, by drawing near, and as it" were dozing
them as Tainters ufe to do, when-> they would look
near on su thing, which effeB is caufed by a Ticlure fet"
afar off •* sAni here I "will conclude^ thofe fimple Motions
which are of mojl Importance, proceeding untothofe which con-
y^o/multiplicity.

Of the Motions of all forts of Cloth.

THe ^Motions of Qotht thatj as the Folds or Tlaits
oughts to runne out every way like boughs from
the Stemmeznd 'Body of thtTree : and muft be fo mado
that one Tlait rife from another, as one hough, orono
Jirearn^ oilVater iflueth out_; from another, in fucli
wife, that there be no part of the Qoth wherein thero
appear nor" fome of thefe motions ; now thefe motions
would be moderate, gentle and free, without^ any interrup-
tions, more to be admired for their graces and facility y
then for affe&ed pains and indujiry , and becaufo all
forts of ^7o^ have their wof/owj, as well as Bodies, it"
muft needs be that they differ between themfelves, ac-
cording to the differences of the clothes themfelves.

Wherefore, they muft be more light in_> fine Cloth,
as Sarcenet, Linnen, Cyprefl, &c. in which the Tiditf&rtJ
[mall, raifedup, trembling, and as if werefweetly^%«g-,
fomewnaf puffed up by extending and ^reading them-
felves like a Sail, where the motion receiveth moro
ftrengthby thetvind, they do fall clofe upon^the bard
j%/,asappeareth plainly inwomens garments, in whom you
shall fee their Thin clothes ftretched upon_> their bare
styi, on thaf {Ide where the wind bloivetb, and bloVHup-
on the contrary part, the fame falleth ouf in mantells^
the loofeends or girdles stndgartersy all which motions do1

S % jrioll

yi Of Aftions and Geftures.

mo ft fitly belong unto the apparel of nimphs and othet,
goddeffes, inrefpecfof their lightnefi; grofs and dul Jhadom
are found in^ftiff cloths, where the Tlaits arc few and
grofs, fo that they are capable but of flow motion, and
therefore they fink downwards, and can hardly fall
clofe to the bare sl{[n, by reafon of their own grojfenefs,
which fuftaineth them, and thefe weirdo chieiiy ap-
peare in cloth ofgold, felt, thick^ leather &c: in which
the zAir can have littleyora?ornone, wherefore the
plaits or foldshavc their motiom accordingly as they arc
handled and preffed by the wearer-, as under the arme, and
under the knee, by opening and flretching out the /egg and
the arme, ever makinggrofs, hard, and flijf folds, with-
out- &\\ flighting* or ply ablenefs, in fuch fort, that if a_>Man
may lay Finer cloth upon them, they will eafily ^rit «/
without pre/sing down.

Temperate motions, which are neither toogrofs, nop
too/light, arc fuch as appear in the folds offtufand othen.
cloths of Fine wool, which therefore may convenient-
ly be moved of the <tAir, and are plyable to su M ans
limns , andfo making moll fweet and pleafatit folds, they
follow the bare very well, becoming very nimble, and
falling plyably about tho loyns. And hence have %a~
phael3 *5\j[ichael ayfngelo, Leonard, (faudentius, <tAlberttis
Durcnts, and other Famous a5\i aflers in Drapery , taken
the method and way of giving the true motions unto garments,
as from_> the moil: perfect pattern for their general ufo
in making the mantells of the Saints , Tavi/ions or Tents,
which are made with this kind of Drapery, befides
thefe, there are alfo other kinds of motions called turn-*
ings and cro flings, which are proper unto Damasks, Taf-
jataes, Sattins, Cloth of gold &c: in which appear e folds
crofting and breaking each other, by the divers Vertue of
the Drapery.

Whence the Venetians have taken their manner of

Dra-

Of Actions and Geftures ■ f\

Drapery, who make thein, folds much different from
the faid motions of Raphael and the reft, which indeed
ought not to be ufed anywhere fave in counterfeits
by the life , where it feems they arc not onely tote*
ruble, but alfo very requifitej but in my fudge mem they
should not ordinarily be ufed in Hijlories, and yet' if
occafion_j do require that they should be reprefen-
tedin any place, they ought" not to be done wholly,
but only fomewhat and refembled with z^pretty touch
zndgrace , in fuch fort that they may not favour ot an_,
affefted imitation of 'the natural garments, without <rract_j
or^ order which is often ufed of many with fmall rea-
fon ( as I think: ) there are alfo other motions as of velvet,
limber leather, &c, all which differ one from another,
but I think thefe may fiifflce, without^ proceeding
any farther in the difcourfe hereof; only Jet thej
T aimer be careful and induflriom, as well herein asin the-?
reft ; Infomuch as in the excellency and perfection thereof
dependeth, as well hereon, as on the reft; becaufe
thefe motions of garments comefo neer the life, that it is
evident, that they are able to make TupiBure feem dtf*
pleafmg and ilfa"voured, procuring the [com and laughter o f
the beholders, fuch were fome of thofe which were
ufed by our Great grandfathers Sonne Two hundred
Years fince, which feemed like round Jlicki* or candles
hanging down.; , which fome of oul, late toorkrnen
of good Note have alfo ufed , making their folds
too long, hanging down_j like Canes , without"' any
kind of grace. Another^ defeel in the Drapery of old
TiBures I find, which is; thatr'they feem to be made
like unto Scales in fome fort : which I think, they
took from the imitation of the models of Men, cloathed
with paper4, which point afterwards attained to high
perfeclion, by the great indujlry of 'Bramant, and t/fndreas

T Mon^

74 Of Actions and Cefturcs.

cSMontegnia, and was afterwards reformed, and made
much more abfoluto by adlbert Timer, and Lucas of
Leiden, and Aldigr alters, wnofe Folds for the moft part
nere likeg^x confounded in one another.

Of the Motions of 'Trees and aU other things that are moved.

Aftly the <i5Motions of every thing which is moved,
-*-' ought-1 to be exprefled with Judgement, according-
ly as they agree with the thing whereunto they are
given, fometimes quick^ fometimes y/ew, fometimes
moveable, fometimes not : And Firft of all in_j Trees ,
when they zvcfliakgn with the toind, there fmaller ("and
therefore more plyable)£o«gAr, muft berefembled with
inch anatfion, that they may more ftrike one againft
another, by jeilding and declining from_» the part whence
the w/Wbloweth, then the flijfer (and therefore flower)
the Body notwithstanding remaining Jlrong and fledfa/l,
the boughs growing fromthencej begin a little to bend-,
and the others which proceed from them ?u little
more, fo tb at in the end they shew the fame agility, mi_,
the leaves moft of all; it is true that all Trees have not a_>
like motion : For the Willow moyeth, and is fhaken ex-
treamly, thcTine-tree not" at all, or very little, and
fo forth of the reft according to their natures, but by
the way we muft Note, that young and tender Trees of
Body, begin Firft to move from the bottom of the Body,
Jhaklng their boughs and leaves together. Herbs like wifo
whether they bear /caw or fruits, have trembling
motions, according to the conditions of the mnde which
bloypeth them, and alfo accordingly as they deforced or
oppreffed of any thing; as for_> example, an Ear of Corn
when a_j "Bird fits feeding upon it, which will not on-
ly make it bend, but even weigh it down to the Earth ,
as well obferved thaLj ComtO Pe^ m (freeccj>of a

Tainted

Of A6tions and Ceftures. 75

Tainter, whether ic were zArijlides ovPamphilm I do not
well remember, who had painted a 'Bird upon an Ear
of Corn> without making the ftalkj>end a jot : In like
fort the motions of other unfenfible things, as quive-
ring of Feathers, offings and plumes, the wreathing of
ropes, theknotsof^Wi,flyingof/?r^j-, dufi- &c. muft
be exprefled according to the Violence done unto them
to the end there may no occafion be given unto the*
meanefl, to tax and carp at "Painters fotherwife mod ex.
cellent; ) as not long fince fell out, in the work of a
goodcvzriw; who in the wrong fide, where he had
c~arvedz5\fichael<*J~ngelo, made a blind Beggar, led by a
Dogtyed with a firing about his ^(ec\, which feemed
to be fo flretched, that it" was as ftiff as zftaff, wi thou t
any boding: which gave occafion^ to a tvaggifh Boy to
feoff at it, faying, that if the; Dog, had ftraitned the
firing fo barde, he had either been ftrangled, or not able
to go any farther , which caufed certain^ "Painters
which were there to break into an extreame laugh-
ter.

Many fuch blame worthy motions may bo found
in PiHures, which would not fo eafily efcape tho
hands of Painters, if in_j every thing they Paint, they
did conljder , that it is their owib difgrace be it ne-
ver foimall, as the mod diligent Leonard, and Cafar J>-
flim did out_) of whofe bands there never came any un-
perfect piece ofmr^ for in_, the fmalleft herbs, you
shall find their mofl trueProportion, and Statural ^Po-
tion.

oJlbertus Durerus was no lefs careful in_> this behalf,
as may fufficiently appear by his prints and coloured pieces,
in which you shall find the legitimate motions, even un-
to the (mailed hairs of the beard, as in that" of the Duke
of Saxony, which was alfo drawn again by Titianus , and
afterwards in the hdn of St. Sebaflians dog, in the print

T * of

7<5 Of Anions and Gefturet

of the horfer of fenfe and death, and intho great leaves

of <lA dam and Eve.

Thcmotionsot the iV^- mult be othcrwiie expreiled
by reprefenting the divers agitations of the waters , as
likewife in rbers, the flashing of the waters upon'Boats,
and Ships floating up and down on the waters, through
the uncertainty of the /urges and the Ships reliftance.
We muft alfo reprefentr* the motions of waters falling
down from-/ an %£> place, but efpecially when they
fall upon iomccRocl{ or. flows, where you shall fee
thcm-j firing up into the <l//V, and fprinkling all

about. . i t .

Clouds alfo in theo^/r require to have their, motions
judtcioufly expreiTed, now gathered together with
thcwinds now violently condenfatcd into Hail, Thunder-
bolts, Lightning, %ain, and fuch like tZMeteors: Finally
you can make nothing, which requireth nor his
proper motions, according unto which it ought to bo
reprefented, but having hitherto fufficiently ( as I
fuppofej) difcourfed of thefe kind of motions, I will
here shut up all with the mod hot and vehement motions
of the flaming Fire, haftening towards an_> end as that
doth naturally, although it be diversly fiirred and
blown with the wind, whereby notwithftanding ga-
thering more force, it is augmented and increafed.

The

ff

THE

Art of Minkure

O R

LIMNING

I Hope that no Ingenuous perfon, will be fo bold td
attempt-'thiseyf^? before he can defign, (that is to
fay ) further than Copying any Titfure in__j black^and
tohite, as Cole, blac/^Cbalf^, blac\Leadot the like. It is
neceflary to drab much after good Heads of plaifler of
Paris, becaufethe difference is much more^ difficult
to draw after around then-; a. flat, and after you have
pradHfed much by the Heads of plaifler, you muft en-
deavour to */rdip much after the li fe, in fc^ and W?^
before you undertake the Art of Limning.

The Colours CO be ufed in Limning are termed thus?

\ Carmine, } r%A n> *■

\t j- r t \jMafticot,

Indian Lake , ir » '

y^ea<%edLeadi >Yeu<m<r* „ ,
[Sera, O i/L^^i %.w*r,

,*-, , ;. t \lndian Lake , IE; ,/"" "' I

|2tor«i0cwr,j&c.j v

>

\SapCjreen, 1 (tfe Marine?,

^ \cPinckand<Bice> Lbi^d T>utch cBke>
f \GreenBuei yimalt,

[Terra Fen. J dndigo.

\ey\4umme, e /

\Vmbeu I fefS

bib. j ^rrjStow.)

V As

7% The Art of Limning.

As for Vermillion, Ferdigreafe, Orpiment, 8cc. they are
too courfe and gritty to ufe in "water colours -, Turnfoile, Litmm
bleft, Ityflet, 'Brafil, Logwood, Saffron, are more fit for.,
"wajbing prints then curious Limning.

The^^y and manner of preparing colours,
White Lead.

To make your whitelead that if shall neither rufl nor
floine, both which are no fmall inconveniencies in_*
the zAn of Limning > therefore^ before you grind ei-
ther of them, lay them in the £«« two or three day es,
which will exhale thofe greajy and /*& humours that /?o>/o»
andy^rue the te, befides you muft fcrape away th o
fuperficies of the vfe'te W, and only ref erve the middle of
it, thengrindit with fair water, or rofemarywater, upona
Tebble or Torphire, when it is grcWhavein readinefs a
chalks/lone w i th furrows i n it, into wh i chfurrom put the co-
lour while if iswt, and fo let itdry in^the Sun, and ic
will be exceedingly cleanfed thereby, after if is through
dry it muft bo "wajhed intyringypater-, as for example,

Letonelnftance ferveforall

Colours to be wafhedand holw.

TAke a Voundoiwhite lead finely ground, put it into il*
bafon o£ firing "water, ftirr it a while together, till
thcwater be all coloured, then let it ftand, and you will
foon_> perceive zgreafyfcum to arife, which/c«w blow off
and po wre the coloured "water into a cleans bafon, leaving
the grofTerBody at the bottomeof the bafon behind,
it being good for nothing but grofleL ufis, let
the purer part ftand One home or Two , untill it is
quite fetled, then powre off the iater from the colour,
and put it in frefhmur, and ftjrr it as before mentioned,

then

The Art of Limning^ j§

then let it fettlehaif the time that it did at firft, and
then powre off the "water into a clean bafon , leaving
the courjer part behind^ and when it" is dry put it up
into Mpw for your «fe; then let the other water which
you powred off, fettle, and then powre off the water
from it, and tako the colour when it is dry, and paper
it as before, for your ufe: colours thus refined five or hx
times over are the purejtj and moft/t for the bed ufe,
and when you ufe it fpread a little of it about a (belli
withy our finger, and temper itwiihgumwater.

Colours to be washed are thefe following.

fyd Lead or t^Mene , zSMdfticot, green "Bice, blent "Bice,
Smoky Vltomarine, Sdpgreen. •

Colours to be ground are thefe.

iVhite Lead, Serus, Indian Lakgy Brown Okgr, Yellow
Oker, Tinc(, Indigo, Vmber, £«#wj earth, Qoerry flone, I*
yory, Lamp blacky Indian red*

Of the Natureof Colours in general

ti
Englifb Ocw;

Yellow) This colour lies even in the fbell of it fe 1£ and
is of great ufe, efpecially if wellground.

Tinch^ixedmtb 'Bice, a good green.

Green) The Faireft Tinc^is beft, wellground and leaf*
pered with blew Bice, allowing one quantity of Tinc{ to
three of blew Bicd -y to deepen this colour in Land-
sty on, 'Drapery, mix with it_» alittle Indigo finely ground*

Vmber.

Brown) This colour is fomewhat^prajfrj to cleanfe \u

8o The Art of Limning,

burn it in a Qmciple, afterwards grind it and it will bo

good.

T Indian %ed.

eDarl(fted) Becaufe this colour is very courfe, you may
ufe limber , and a littlo lakf tempered, which is as
good.

Blacky

BlackJ Ivory and £w^TF%h arc both to be burnf in

zCruciple, andfo ground-, Cherryjlone is good for Drapery,

for a blac\Sattin, temper with if a little white, Indian

' Lakgy and Indigo, heighten-* it with slighter mixture, deep*

en if with Ivory blacf^ this was Hilliards way.

Ivory Blac^.

B/^cO Grind Ivor) with a pittance of white Sugar Candy,
which will preferve it from cracklingoutofyouryk/.

Indian LaV$*

Turple) Grind this with a little gumwater, and when
it-) is ground fine, before you put it into the (hell, mix
a. little polvder of "white Sugar Candy with it, which will
pre feme itfrom_» crack[ing, after this temperaturo you
may fpread it thinly with your finger about the/hell.

Obfervaticm in Grinding.

Leave not your colour too moijl, but thick and clammy ;
if after your co/wrbe dry in_> your fhell, you rubbing
your fingers thereon shall find any to come off, if
rnuft be better bound with gum, and if too muchgHw,
it will thine and be apt to crackfe off after it is ufed.

To D£>ajh Bice.

Bleu?) Grind your Bice firft very purely, then filial

large

The Art oFLimhing. 8r

large (hell with cleans water, put the Bice therein and
ftirrit, thenletit fettle One ho wer, take ofFthe [cum
and powre ofFthe water, then referve the bottom o
when it is dry for ufe: To deepen this, u[e Litmus water.

How to cboo[e your Tencils.

Choofe fuch Tencils as are clear zndfiarp pointed, not d i -
viding into parts ; of thefe you muft have in rcadinefs
a feveral Tencil, for every feveral colour.

To prepare a Tablet to work^on with Miniture for TiBures by the life.

Take an ordinary playing £W, polijlo itr^ with a
T>ogs Tooth, and make as fmooth as you can chip white
fide of it, cieanfing it from_. all /pots and extuberances ,•
then choofe of the bed abortive parchment, a Ttece pro-
portionable to your Card, which piece with fine and
clean fiarchpaji fall: on thecW, temper the /larch beforo
yollpttft icon, ixl^ the palme of your hand, that it may
be free from Knots 5 let tho card thus pajled&ty , then-j
making your grinding- /lone as cleans as may be, lay the
cWthereon^ with the parchment fide downwards • then
with zTostb turnip) or poii/h the backfidoas hard as you
can, Note that the outfido of the sk(n is beft to Lwme
upon, and muft therefore be outmolt.

The (groundcolour for a Face.

Yoiir card thus prepared, you are to lay 2u ground ot
primer of flejh colour before you begins your worh^, and
thatL->mu(t be tempered according to the complexion of
the Face to be drawn; if the complexion be fair y temper
white, red lead, and lakg, if an_/ hard [warthy complexion,
mingle with your wbheand red a little fine zSfyfo/licot, or

X Englijh

82 The Art of Limning.

Englifh Ocur, but Note thar your ground ought al-
wayes to be fairer then_» the Face you take j fork is a
facile matter to darken a light colour, but a difficult
to lighten a deep one j for in Limning you mull never
heighten, but work them down to their \udcolour.

Your ground thus prepared, you mud lay it on the
card, ("ordered as before ) with a_> Tencil bigger then
ordinary, lay it on as/mootb, even, and free from hairs
of your "Pencil, as 'tis pofliblc;, which that you may
do) fill your Tencil full of colour, rather thin or toatrifh,
then_> thicl^ and grofi, and with two or threo dd&bes of
your greats Tencil, lay it on in an inftant, the nim-
bler it is laid on, the evener the colour will ly.

Note that you oughts to cover rather too much
then too little with this prime-, cover fomewhat more
of the card with the ground colour, then you shall uCcj
for the Face.

This done, take a pretty large Toilet of Ivory, and
before you begin-; to work, temper certain little heaps
of feveral (baacmes for, the Face, which you muft tem-
per with y our finger about the Toilet.

'The Order of Shadows for the Face,

sh*d,m In all your Shadows , remember to mix
fome white, ( exempligratia ) for the red in the Cheeks, Lips,
&c. temper Lake, red Lead; and 2u little white, for the
blew, zs the Feins, &c, a little Indigo and white-, for blew
%ice is never ufed in a Face, for thefaintejl and weakgjl colour
or /hades, Lake an&tokite, a 1 i ttle^ Ocur, and a little Indigo,
adding thereto if you will a fmall pittance of Pwc^or
<sfA^aflicot, for the deeper fiadowes, white Snglifh Ocur,
Vmber, for the darkeft andbardeft (hadows, ufe Lak^_j and
P/»J^ mixt with t?Mfer : Note that fe^muft not by
any means be ukdin-j a Face, for other shadows your

own

The Art of Limning. 8)

ownobfervatidii->muft direct you* for it is impoffi-
ble to give a general %ulc_j for the shadows in all Faces,
unlefs we could force nature toobferve the fame method
in compofmg and modelling them, fo thar* one in every pun.
Bilio should refemble the Other.

For your Light to draw by a_* Northern is ac- Light
counted beft, which if it fall /looping dompn from an high
toindotp, isbeft.

Place your felf to your T>es\ , that" the aja'a
lightmzy ftrike in Jidelong ft oms the left-hand to the right 3
andobierve thar'inall youraw^ it will shew totho
belt advantage, when it is tu rned and feen^ by the fame
light it was drawn by.

Let a Saucer or clean Shell of fair Water be Nec^ar>tti
everonyourr/gk hand, wherewith youmay »'«M*i
temper yourco/owj- and wash your pencils, together with
abrush pencil dry, to cleanfe your toorh^ from du/l-y alfo
a sharp penknife, where With to sake away fuch^d^f of
hairs as may cafually mix with your colours, or fall into
your card; you may alfo conveniently cover your
piBufc__, with a piece of 'paper, whereon to try your pen*
cils beforeyou begin to work.

To begin a Face.

Having thefe accommodations, draw the T^0
lines ofporpkile (i. e. the outmoft flroa\ ) of a Face dra"£hr-
with /^f and Tito, mingled very faint, by thisydumay
conveniently mend the draught ( iffalfe ) with a deeper
mixture of the famo colour, the lines being exaclly drawn*
an&true proportion-* obferved ("which is the chiefeft
thing of concernment ) next" obferve the deeper afid
more remarkable fliadonves, and with the fame faint Crimfori

X a cohurt

84 The Art of Limning.

colour of Ufy and white, give fome flight touches and mark*
fomewhat roughly of thefe Jhadonpes , which afterward
you'l finish.

The Order to he ohferyed in drawing by the life. .

The order of Firft you muft only dead colour tho Face,

drawing pr/t J J . r

fitl»s- as the OyUpainters do, and nof meddler

with the reft, and this firft fitting commonly takes

uptwo/?o«ri.

stoning. The fecond fitting vvill require Four or

JFive hours, in thar time you are to go over the Face
very curiousjly , obferving what ever may conduce ei-
ther to likencfc, or judicious colouring , alio obferving

» of the feveral graces, beauties, or deformities, as they ap-
pear in nature , orelfe in fmoothnefs of shadowes, or
clofe and fweet couching the colours.

Thtrdf,tuKg The third fkting commonly takes up two
or three hours, and is fpenr" in xlofing what was before
lehimperfeB and rough Jout principally in giving to every
deep (hadow, the jlrong touches and deepnings as well in the
daif^Jhadowes in the Face, as in the Eyes, Eyebrows, Hair
and Bars, and thefe touches are ever the laft part of this
bufinefs, and are never to be done till all the Hair and
Drapery be finisht, thefe touches ( if well done) add ex-
ceedingly to the life.

Concerning dead colouring.

The dead colouring of 2$ ace is to be done the roughejl
and boldejl of all 5 having drawn your Yace with lakg_j
and tvhite( as before) you muft take to the faid colour a
littleredlead, tempering it to the colour of the Cheeks, Lips,
&c. but very faintly, becaufe you cannot lighten a deep
colour, without hazard of fpoiling the pitlttre.

To

The Art of Limning, 85

The firft colour to begins the Face with, is the To begln u
red of the Cheeky and Lips , fomewhat ftrongly Ltmn-
the bottome of the (Inn, if the party be beardfefs ; over
under and about"* the Eyes you will perceive a delicate
and faint rednefs, and underneath th^jEyes, inclining
to purple colour, which in fair and beautiful Faces is ufual,
and muft be obferved ; the tip of the 8ar, and the roots
of the Harare commonly of the fame colour.

All this you muft do after the mannsn, of hatching,
with faint and gentle jlroa\s , washing it all along. ln_j
short, in your deadcolouring you muft cover your ground
with the aforefaid red, and the fubfequent (hadoyps.

3\(ote ) Be nor" too curious in your firfl wording , but^
regard agood bold following of nature, rather then_j fmooth
curiofity, the roughnefs of the colour, you may endatr'an-
Other fitting.

The fecondwrk^ of Limning,

The ftcaai

The redbeing done, the next is the faint blews
about the balls and comers of the Eyes, and the p^di<rf-
gray and ble)vijh under the Eyes, the Temples 3&c. which
you arealfo tow^from the uppermoft part of the Face
almoft all over, buV exceeding facet and faint, byde*
gneeSyfweetning andheightning your Jliadom, as the lightfallsi
And in going over the Face, be fureto mark out^ the
hardjljadotps in_j the dark fide of the Face, under the J\(ofe,
Chin, Syebrows, &c. As the light falls , and fomewhat-;
flrong touches, inthofe places bring up your work, toge-
ther in an equal roundnefs, nof giving perfection-* to
to any particular parr" of the Face, but vifiting all the
parts curioujly, and in a kind ofrandome, by which means
you will better obferve the likenefs , roundness, poflurest
colouring, or what ever elfe is requifite to the perfedti-
on_jof yourM^.

Y Having

8<5 The Art of Limning,

Tbe third Having done the fainter or lighter /hades, and
procedure, fomewhat^ fmoothed and wrought them_>
into tho red, you may go over the hair, difpofing
intofuch/wvw, folds on tramels, as may become youL
TiSturebeb.

You muft at firft only draw them_> with colour as near
as you can, fuitabl{_j> to the life, and after wash them
lightly af the firft, and then once more perufe youn,
v>or^, being careful to fill up the void, empty and bar^j,
places , which aro uncovered with colour, and at laft
deepen it fomewhar' more (Irongly then before in tho
deepefi fhady places, ft ill carefully obferving the life-, thus
much for the firft fitting.

The Order of Limning in the fecond fitting.

The party being fet/«/2in_> his former Seat, you
muftmoft ex^S/yobferveand curioufiy delineate with your
pencil, thofo feveral varieties of nature, which you
did rudelytrace out before, todothisyou muftufe tho
fame colour in_Jthe fame places you did before, working,
driving and fweetning thefamo colours one into another,
to the end thaf nothing be left in your ivork^with a_»
hard edge, uneven, or a_> lump together, but alfo (o/wept
and driven one into another, with the point of fome-
what 2ujharper pencil, then you ufed at the firft as that_»
your fhadoiws may lye [oft and fmooth, being dijperfed and
gently extended into all, and towards the lighter parts of
the Face, like air or a vapoury fmoa\$ but before this you
muft carefully obferve all thefhado'ws and colours.
ihcgroMhind FortheiJrwWbehind thtuTitture, it is
theTinnre. commonly blew or crimfon, fome what like

a SattinoiredVehet Curtain : if blew you muft lay it thus>
your_> "Bice beingpure and cleare tpasht, temper as much in
a shell as will cover a £W, let it be all throughly mot ft

and

The Art of Limning. 87

and well bound withgum, therewith a fmallpewc//, go
about with the fame colour, thtporphfk, that is the utmojl
flroke and ambient [uperficies of the TiBure . this done take
a greater pencil and therewih wash over fome what careful-
ly the whole ground that you mean to cover with a blew,
fomewhat thinand mtrish, and then withareafonable
big pencil full of colour and flowing, lay Over that place w ith
a wick and fubjlantial Body of colour, which before you
had only wash over, in the doing of this you muft be
very firift, keeping colour moijl that you have laid, not
permitting any part to dry til the whole bo cove-
red.

<tA £ rimfon Cjround. \

If you Would have your (ground (^rimfon 1 ike ^w f°*
Sattin , you mud with Indian- Lakg trace out
where and in what-) places you will have thefe flrotig
and hard lights and refleflions to fall, which isfeen in_»
Sattin or Velvet, therc^ lay your lights with a thin and
ypaterijh lake, and while it is yet wet with a fironger and
</dr^r co/o«r of lake thick^ ground , lay the deepning and Zwrc/
flrongfbadovs, clofe by the other //^; your bed way
is to have a-> piece of &#/» before you to imitate.

After this lay your linnen with a flat white, For Uethod in
and the Drapery like wife flat, then go over »**^*'**"
your face again, endeavouring to reduce each rWojp
to its *r#e perfection, then_> draw the lines of the Eyelids ,
exprefling the reddar\y\(oflril, the shady entrance in*
to the Eares, the deepnefs of the Eyebrows, and thofe
more perfpicuous notes and w^ in the face, with a/#«-
c// fomewhat more curious and sharp then before^ you
may ^r%« your ground as you fee will be mod advanta*
gioustothe fettingout the'P/SwY.

Y a Next

88 The Art of Limning.

The h*\t Next go over your hair heightning and detpning
it as you shall fee by the life, drawing fomc/o<% loofe-
ly over the ground, which would otherwife feem «»-
plea f ant.

u»»tn sh«de. To Shadow in Linnen, uteblacl^, white, a little
yellow, and lefs blew, the blacky mud be deepned with Ivory-
blac\, w ith which mix a little Lakg, and Indigo, or Lit-
mus blew, thus much for the fecond fitting.

The manner of finishing at the third fitting.

ThirifMhg. 'jhe third will be wholly fpent in giving
the flrong touches and obfervations necefTary for the
rounding of a face, which you will now better fee to do,
the apparel, hair and ground, being already finished. In
this fitting curioufly obferve whatever^ may conduce to ft-
militude, whichis the chiefeft thing, as Scars, *5Moles,
&c. glances of the Eyes, defending and circumfleBions of the
zZWouth, never make your deepeft shadows fo deep as they
appear in the life.

Thus much of the Face and three fittings,

¥ or Ornaments thus.

omamctt. Armour filve a) for colouring armour, firft lay Li-
quid fiher flat and even, which dryed and burnish with a
Tooth, temper the shadows with Siher, Indigo, Litmus,
and a little 1/Ww, workthefe Wwr on^the Silver as
dirf&ed by the life.

coid Armour. For the gold armour, lay go/*/ as you did filver,
for the tfiWow, £<%, English Ocur, tempered with a
littlegold.

p(,ris. To exprefs roundnefs md luflre ol Tearls , youn*
ground muft be white and /»d^, your. ;Wctt> blacr\znd

Tinck* rn.

2)/^-*

The Art of Limning. Sp

'Diamonds are expreft with aground of flat Li - z»«*«*.
quidfilver, the deepningisQoerriflone, blacfond Ivory i the
deeper the Jhadoyp, the fairer the Diamond.

Lay a ground of filver , bumifht to tho %«<?/} w*;«.
of the'fy^y, thcn->take Turpentine of 'the ^ and /w<?/4
and temper with ilu very neat a little /Ww« Z^,*
then-j taki n g a »eo/Ze, or fb rne fmall Iron injlrument hea t-
ed in a CW/e, {lay or </n?p ) a little of the compofition^
upon the fiber, fashioning the flone in a_> round or fquare,
or what ^/o» you pleafe, with the />o/«* of your i»/2r« -
www, you mud let it lye a day or two to dry, if it bo
too long in drying, add to your compofition alittlo
powder of clarified z5\fa/iick^; Ihis receipt is not commonly
kriolvn.

For any green flone, temper your Turpentine e^m*.
with Verdigreafe, and alittlo Turmeric\root, firft (crap-
ed with Vinegar, then lef it dry, then grind it to fine
ponder, and temper it.

Mix Turpentine^ with Vltrdmarine , &c s*phir*:
Note that_j the £ro«w/ to all mull bo Liquid fiber po~
lijht.

zAtrue I^gceipt to make liquid ?old„

Take of fine leaf-gold, the Value of is, 6d, L'i*HgMt
grind this gold with a flrong and tbich^gum-water upon a_*
reafonable large flone, which you mufl grind very fine,
and painfully; as you grind it, (till add more of youc
/frwi£ gum-water, and though the £o/</ look never lo blac{
and rfaty 'tis never the worfe, having brought^ it to
a competent finenefs, wash itiu^ a great (M as you did
"Bice-, &c. Being very clean add to it a littlcj quantity
of aSMercury fublimate , with the^ point of your Kjiife,
which you muft temper with it, and a very little^wi
to bind it in the /bell, and as it fettles, and begins to dry

90 The Ait of Limning.

in_j the /heft, shake it together, and removes and
fpread the gold about the fides of the jhell, that it may
be altogether of one colour and fineness , ufe with fair
water, as you do the other colours.
Note. So for liquid filver, only obfervof and 'tisafe-
cret) that when-; y our fiber either with long keepino- or
moijlnefs of 'the Air becomes jlamped and rufly-, you mud
to prevent this inconvenieney, before you lay the
fiber Cover over the /^ce with a little Juice of f/arlic\,
which will preferve it.

Of Landskip.

Laxdtkjp. jn droving Landslip with water colours ever begin
with the %>,andif there be any Sunbeams,do them firftm
p^pie ciouds. For the Turple Qouds, only mingle Lake and
white.

reiiow. T he Sim-beams, Mafiicot and white.
Noteu Work your blew Sk^e with fmalt only, or Vltra-
marine.

»**>. At your firft working dead colour all the p/Vce over,
leave nothing uncovered, lay the colour [mooth and ey en.
■Note,, \ybrk the S^z> dowru in the Horizon fainter as you
draw near the Earth, except in tempefluous styes, work
yourfurtherel^foMwte/wjfo that they should feem_»to
be loft in the of/'r.

x°'c4. Your firft ground mud be of the colour of the £Vz;?£
and */czr^j yellowijk, brown, green, the next fiicceflively
as they loofem their diftance muftzlfo faint and abate
in their colours.

m*<5- Beware o£ perfection at a diftance.
am*. Ever place light againft^r^, and ^r^againft light
( that is ) the only jway to extend the profpcB far off,
is by oppofing light to fhadows, yet fo as ever they muft

loofe

The Art of Limning^ 91

loofe their force and vigor in proportion^ as they re-
move from the Eye , and the,; (trongeft jhadow ever
neareft hand.

dA T)arl{(jreen.

For a dark^ green for Trees mingle Verduter, Tinck , and
Indigo, the deepeft Jhadom of all ingrmzare mado with
fap green and Indigo.

<id %are fecret to preserve Qolours.

Take'Rofemary water double dijlilled, and with a few
drops of it_j, temper your [hell o£ white, and you shall
fee it become inllantly perfect ophite, however dead
andfaded it was before , beildes this water allayes tho
Bubbles in white and umber, which are ufually very
troublefome in the grinding them.

Some general observations in M'miture.

\ . If your colours peel or by reafon of the greaflnefs
of your Tarchment will not_>lieori, mix with thema
very little Earwax, and t'will help them;

2. Sit not above two yards hom him you draw by.

3. Draw not any parr" in the face of a piBure exactly
at the hrft, neither^ finifh zzffyfouth, Eye or 3\(ofe, till
the reftofyounaw^comeup., and be wrought toge-
ther with it.

4. When you have finished the Face, make the par-
ty (land up to draw the Drapery by him.

5 • Let the Tarty you draw be fct in an higher [eat then
your felf that draw.

Zr2 Tti

gi The Art of Limning.

To makg Crayons orTa/lils.

pajiiis. To inftance one for all, if you were to make
aTaftil Tor a. brown complexion, grind on your flow, ferns, red
lead, or vermillion, English ocur, and a little pinc^ . to this
add a proportionable quantity of plaijler of pans, burnt and
finely fifted, mix this with the other colours, and you may
roleitup.

Note. _Ml ix white Serm with all your other colours , and
fome inftead of Serm ufe Tobacco pipe clay.

To make white.

strut. Take two parts of ordinary cha\, andoneparf
ofzjfflttm, grind thofe together^ fine, make them up
inn lump, burn them in a Crmtfo and ufe them.

To wrf^ #to Lead.

wKutMt. Take a (fruciple whereinto put feveral fmal
plates of clean Lead, coven* them with white ivme Vinegar*
luit the Tot clofe and dig an hol^j, in a dunghill, where let it
abide for the /pace oFfixivechj ; Take it it up and fcrape
ofTthe fuperfluities of the white Lead, and fb ufe them.

To prepare a Card for a Titture.

Wet a card all over with a great pencil fo foone as
the mater is funck in, Ww7Z> it fmooth on the bacl^fide, ha-
vingtemperedfome/W^witha kpifein the palme of your
^Wfpread it over, inftantly lay on a piece of abortive
parchment, let it bepreft in a book till it be almoft dry,
then fmooth it on the bacf^fide.

To pre fierce Colours fresh, grind them yo'iththegallofathQet.

To prepare White Excellently.

whUt- Take fome Serm which being grofly bruifed and

put

The Art of Limning. gj

put into a fine earthen 2Mm£ put to it a good ^//w)
of running water diftilled, wherein wash the Sent* till
it be throughly clean and pwrcW, which you shall know
by the Tafte of the water, which is drained from

thence..

Is made thus, take of Cty/of Turpentine on^> r»*¥t.
pound , Sandrakg one pound , Oyl of Spike one pound,
mixt the Oyles together, andletall ftand over the fire
till the Sandra\e be dilTolved, if the fire should chance
to catch hold on this, clap a pewter dijb over it.

Concerning Wax-Wor\or Moulding, to ma\^ the Moulds,

Tbi UouU

Take a <*ood big lump otplaiftcr of Tar is and
burnitinac^^tillit^ber^^ let it coo/, then beat
if very J#r, andjW/c it through ^Tiffany Sieve; be
very cautious that" the »/W come not at it, for that"
wi\\bindcritsbardcmngh after it" be tempered keep it wrapt
up in_; a clean brown paper, ufe it thus; take any Earthen ol
Tenter Feffel, that is shallow, and put tensor twelve
(boonfulh of fair water in it, then prepare your /raft, and
bind a rag round it like a cord in a wreath long wayes
on the: fruit: ther< take fome //»/«/ 0>/<? or ( which is more
cleanly,) Oylo£fwet Almonds, with which in_; ^pencilbe-
fmear the Z,«w»0», or fwhat others fruit it be) on the one
fide, which lay uppermoft,y oar Lemmon thus prepared,
take fome of your fifted plai/ler of 'Tarts, and temper itr
in the fore-mentioned w^cr to a pretty r£#fyc//, therL»
as fpeedily as may be with the help of your pon, caft
it on the oyled Lemmon, lay it oil, very tbic{, leaft the
fefe/r of the zSMould fpoil thew^, whetL/tis hard-
ned( which will be ina^fmalltimej)take away your
fag, leaving the linnen (till faft in it's half mouldy which
done turn the hardned fide downward, then Oyl the Other,
half of the Lemmon together, with the edges of the

A a mould i

p4 The Art of Limning.

mould, which the rag did covet ; then wafh your porringer
or vejfel where the Former plaifter was clean and prepared,
and caft on more plaifler ofTaris as before, obferve, it"
mud not be too thick, when you caft it on> and after^
'tishardned, you muft put no more w^r to it, for then
it will crumble-, when you have done the moulds fo, and
m&de znotcb that onemay fall fitly into the other, tyc
them~> clofe together, havingbefore well Oyled them,
and keep them for ufe.

To caft in thefe <£\loulds.
To cajt. yj fe t jie tybfaji ^nd pure ft Virgins Hoax.

To colour the to ax anfwerable to the things you mould.
To colour. -por a y$pj£jl) your ground is Serus, which muft
be afterwards painted over with Lake, the top of the
'Rgddijh painted with Ferdigreafe3 all other fuch colours muft
be tempered with gum 'water-, gum water is thus made,
diftblve a lump of pure gum <tArabac\ aboutr'the bignefs
of a Walnut, in two jfioonfnlls o£jair water, herewith tem-
per your colours.

Note that^ every thing a^fouldable is either all of
one, and the fame colour, as a (Lemmon) or jlriped and
particoloured with different colours, zszTear, Tear main, t^cc.
Now fuch as are of one co/owrmaybe eaflly call all of
the fame colour; but fuch as are varicated muft be kept out
afterwards by colours tempered withgumwater (as above)
you colour your wax by putting into it whileft it is hot
and melted in_> a Gally-pot, a little linnen hag of that colour
you ufe, provided that the colourbe before bruifed very
fine.

As to particulars for the Lemmons or iApricocki, take
only TwwmV^in_> a bag, for Oranges turmericf^md red Lead
well tempered; aJpp/es, Tears , or (} 'rapes, turmerick^ivid
a little Ferdigreafe, Wallnuts and Figs, mix turmeric^ and
English Ocur, and Vmber all in_> a bag together, Cucum^ers

or

The Art of Limning. ' 9?

or Hartichoak^t ^eefcods or Filbirds, turmeric^, Tterdigreafe €ggs
andSerus, all put into feveral baggs and jteept in the Vir^
oinswax, when'tis melting &s before mentioned, fbr Dn-
mafon bru ife (Joorak, Indigo and blew flarch in_i a bag toge-
ther* for flesh colour, white Lead, and vermilion mixt, &c.

T 0 counterfeit ^ochcandid fweet meats.

DifTolve the quantity of a walnut of gum Arabach^ %****%;
in two jjtoonfulls of clear water, let it be very thick^ then_^
take any piece of broken Venice glafs , the thicker the
better, beat it in a morter, fo fmall as you pleaf'c, that
it may ferve your occasion, daub oven, fome cab fweet
meats, with the fore-mentioned gum water, ftrew this
powder on~> them, and t'will with much delight fotisfic th$
expectation,

Additional Obfervations ouf of a <£\4anujcript of
Mr. Milliards touching Miniture.

When you begin to Limn tempen. all your colours
fresh with your Finger, in your /hell, or on youipallat,

Tearl
Ifour Veart muft belaid witha^te mixture, with a_>
little fc/d^f a little Indigo and z5Ma/lic(, but" very little
in comparifon of tho white, not to the hundrethp^
that dry, give the light of the P^r/ withalittloyfcr,
fomewhat more to the light then the fhadowed fide_> ,
then tako a »te allai'd with ^Mafficot , and under-
neath the fhadtmd fide give^t a comparing flroa\, which
shews a reflection, then without-' that a fmall fhadovv
oiS&tcote uridermoft of aUs But note, your /iW muft
be laid round and full.

'The manner how to drawYMith Indian InJ^.
To draw with Zwte /Rafter the manner ofwa(hingf
or infteadof Indian /»^take>> Lamp-black^or thread burnt,
temper &j little of your Indian hik^with fair yyater, ivu

A a 2 ab

9 6 The Art of Limning.

2ujheil, or upon your hand, v our outlines being drawrL_»
with Cole or blac]\Lead, take an indifferent long /harp
pointed pencil, dip thcj point into fairwater, then dip the^>
/><?;«:// into tho fadfaff Iw^, and draw all your outlines
very faint, ( Note that all tho temperature of Wk/2 Mk
mult be */>/» and waterijty, and not too Mkv^ when if is
*//>, ta^e a little fr/^>2^ of /?<*/? white bread, and rub out the
outlines which you drew with the £<?/*?, (if too blackj then
dafb on your fhadom very faintly, and deepen it by decrees, as
you think convenient, then finish it with ft ipples, it be-
ing mod advantagious to any one that shall pra&ico
Limning, beware of taking too muchcolour in your /w;»
riA* which you may prevent1' by drawing the pencil
through your Lipps; in laying on your shadows, never '
lay them—, to deep, but deepen them down by degrees, for
if too deep you can never heighten them again.

How to prevent your colours fromfinkiw in.
Take 'Roach milium and boy le it in faring water, then->
take a bit ofufemge and dip it into the water, and wet
the bacf^/ide of your paper that you intend to draw on,
very thin, whileft the water is hot, in thowriigof it
be as nimbi o as you can, and this will prevent it
from_> fining.

'The manner how to draw with water colours upon Sattin.
T akel^ing glajs and fteep it Four and twenty hours
in water, then boyl it m^'mof wine untill it be very
clammy, which you will perceive by dipping y out fin-
ger into it, then aften, your outlines are drawn upon
the Sattin, take an indifferent big pencil, and wash it
thin over as far as your om//m are, which will prevent
your colours froni^fi?iJ{big or flowing.

<zA farther 'observation in grinding of colours.
Obferve in grinding ultramarine and other colours, that

your

The Art of Etching. 97

your motion be not too fwifi, but grind it gentle and /Ion,
becaufe the Jwiftncfsof the motion, caufeth the flows to
heat, by which confequence your colour w ill jtarie or_,
foo/efometbingof it's Luftre, efpecially if it be a colour
of no great Body as Tinch^and Indigo, &c. obferve,
in grinding white, that you grind it not_j too much ,
leaft it pro ve greafy or oyly, or o f a dirty colour.
How to prepare Z)?nber.
TakeVmber and grindit very fine, put it into an earth-
en pot or gaily pot, of fair water, cover it over and keep itr
from dufi, and in fro fty weather, let it freeze uniill it thaws
ofitfelf, then power offthe water, and when it isdry
put it up in paper for your ufe. And when you temper
it in_; your floell, ufe a drop or two of white Onyon water
which will preferve it from cradling,

The Art of Etching.

The (jrounds and %ulcs of Etching.

BEfore that" you begin to Etch upon_; copper, it is
very neceffary topraclifc the Art of drawing, till
you be able if need requiro to draw any head
after tho life, or to draw a defign , for if you in=>
tend to prSke the iArt of Etching, you will find it very
profitable to draw after good prints, which are well */p-
fignedy and graved, and when you have praBifed Co long
that you are ablo to coppy any print, or drawing very ex-
affly-,' then draw after good Heads of plaijler or figures ,
according to your own fancy , which will learn^ you
to fhadow according to sJfrt, if well obferved, there-
fore be fure when_» you draw after plaijler , to obferveJ
very exaclly to take the true outlines or circumferences ,
and then_j take notice how the JJoadow falls, then_j (ha-
dow it very faint arid [oft, where need requires. The
printswhich I recommend unto you as abfolutely the befl to

Bb . learn

p8 The Art of Etching.

learn to Etch or (jraoe after, be the prims of Henry goldsbis
and Hermon CMuller, therefore it is very convenient
to leaan to hatch with thcTen exactly aften either of the
aforefaid fruits of </old[his or zfMuUer, and when you
have brought-; it to that perfection ; and can draw very
well zherplaijler, you may praftife to draw after the life j
but beforoyouto after the life, you mud be very
exact and true in your outlines or circumferences.

The Instruments -with their particular names
yphich are ufed to Etch with all.
A C°PPerP^te potifad* a pieco of ground bound up
in a_, piece of S7/^ or Taffatae, and prcferved from any
</«/2 or greafe ; and about twenty J^eedles of all /%j, the
belt are made at Qcafe ; then take the JA(W/^ and fet
them_> indifferent deep into fome round fender flicks about
a jpanlong, with a JSQedlc&t one of the ends of they?/<%
and a pencil at the other, afcrafer, a />fl//#er, and two or^
three ^ood French gravers, wellgrozWand whetted, and a
p2LiroiComPalfts> a.eRuler,fomegreen'waxi a Bottle which
holdeth foroe half a pound of fmgie aAqua fort is Hop-
ed clofe with foftrpax, fome ia>hitz_> Lead, zStift, a band
Vice to hold the Plate over the fire , an Oyl fione.
The ufe and property of every particular Instrument.
The Copper Plate is the only matter to Etch upon j
t\\e ground is to lay upon the Copper Plate, when they
are both unarmed-, your J\(eedles ar e to batch withall upon
the ground, the pencil is to wipe away the bits of ground,
which rife when you batch upon the ground with your
3\(jedles, the fcraper is to fcrap^j, out" any thing that is
amifs, the Polisher is to make fmooth anyplace that.; is
rough, fo that you can mend any place that is ami[s ac-
cording to your own Mind 5 thc(jravers are to mend
here and there a ^nwJ^ where need requires. Butnote,
that" your Cjravers mufl be ground, and tohet very Jharp
and fmooth, upon an Oyi/loncj, before you ufe them,

your

The Art of Etching. 95)

youn, Compajjes are of very littlo ufe in_j Etching, ex-
cept itr1 be to meafure a dijlance, on Jlnke a £/r«*j the
Ruler is ufed to batch all the flraight hatcher or Lines upon
the Plate. Thcgreenmaxisukdto make a IV all round
about the edges o£ your Plate, to keep the <l4 qua forth
from running off from the Plate, the Ac[u a form is the
finisher of the work, when you have hatched the de-
fign upon the Plate with your Needles. The whiter
Led is ufed to [crape upon the bacl^fide of the drawing or
pr//tf that" you Etch after, The Stift is ufed to <to
through all the outmoft Lines or circumferences of
the Print or drawing which you 2s3fc£ after. The Oylftone
is to whet" your gravers upon; having thefe things
in readinefs, Note that if it be a black Ground that
lyes upon the Plate, then you muft take white Lead and
rub it" upon the bac^fide of thc/>wtf or drawing which you
intend to Etch after, but if it be a white Ground,
then you muft take black Lead, ora piece of Charcole
and rub on the bac\ of y our print as aforefaid.
'The manner and way to maly the (ground.
Take a quarter of a pound of Virgins wax, and half a
quarter of a_> pound of Sxpoltum burnt > otzJmberOne
Ounce, of Ma/lic{Onc Ounce. Having all thefe materials
in__* readinefs, you muft take the ttMaftic^ and the
Expcitum^ and beat them very flneinawo^r; this be-
in cr done, take a new earthen^ Tot, and put the vast
into it, and fet it upon^ the fire, let not the fire be
too/^whichifyoudo it will burn the ground-, therefore
when they are throughly meked3tzkc it off from the fire,
and oourthe^roaw/out into zTot of fair water, and make*
itupintoaM?, and preferve it from dufi j and when
you will ufe it, take a quantity of it and bind it up in^ a
piece ofTafatae ovSil{, and ufe it as hereafter.
aJ red (ground.
Grind red Lead, very well tempered with Vernijb.

Bb a ^

ioo The Art of Etching.

J white (ground.
T ake of wax one Ounce, 'Rp/in two Ounces, melt them_>
together, add thereto a quarter of an Ounce of Venice
Serm, finely ground*

<tA blacky Cf round.

spaitum. <*JJpbakum two parts, Beeswax one part, melt them

together, being warm, lay it thinly on_> witha/^w rag.

Another (f round.

Grind ra/ Lead with Linfeed Oyl ; Note, your ground

muit be laid very thin.

7 he manner and way to lay the (jroundupon the Tlate.

Takefome £ harcole and kindle them, this being done,

take an hand-Dice and fcrevp it faft to ono of the corners

of the Plate, as near to the edge as you can, becaufo

vou mud lay the ground all over the Plate, thero take

the Plate and hold it over the fire, till it be io warm to

melt the ground, then take the ground which is bound up

and rub it to and fro Hpon the Plate till it be covered all

over alike; then take of the Jlijfeft Feathers out of a2)«c%

wing that is not ruffled, and f prcad the ground very thin,

and fmooth every where alike upon the Plate, but have

afpecialcare you beat noV the Plate too hot, leaft you

bum the ground; which if itbe, theground will breakup

whenyouputonthey/^/ortoandlpoilthe Plate? you

may difcover when it is burnt, by its rifing as it were

jandy, which if you perceive, youmuft. take a cle an linnen

rag, and warming the Plate,wipethegw/Wi/<?<worT,and lay

a new as aforefaid. But if you perceive the ground to

hefmooth and not fandy, take it off from_> the fire, and

when it is cold, take a piece of Link^and hold under.,

the ground till you have fmoakgd it very blacky but ler_;

wotthe flame touch the_j ground, leaft you bum it, this

being done, if the Plate be cold hold it^ over the fre

again^ till it be juft warm, to let the fmoa\melt into thej

ground, that it may not rub off unden. youvhand, then

hold

The Art of Etching. lot

hold it off frotn_^ the fire , with the ground-fide of the
Plate downwards fo r to preferv o it from the dufl, other-
wife when the ground is warm , dujl will flyc in and
fpoil it, therefore you muft hold it with the ground-fide
downwards untill the ground is cold.
The way to draw the outmojl lines of any Trint or drawing upon ■
the ground of the Tlat^j.
Firft take the drawing oi'Trint which you intend to
Etch after, and [crape a little w»to lead upon the back^fide
of it, then take a feather and rub it oven, every where
alike, and^% off that which remains, then_j take
the print and lay it upon the Plate on that fide theground
is, then fattens the fom comers o£ the print to the Plate
with a little [oft wax h thisbeing done, tako the Stifi
and draw upon the print all the* outmoft circumferences
Midlines exactly, and when you have fo done, takeoff
the print from_> the Plate, and all the fame outlines and
circumferences which you drew upon_> the print with the
Stifi, will be exaBly and unfailably upon theground.
Several Obfem>ations in Hatching,
Bird obferve exaBly and judicioufly how your principle
is fhadowed, * and how clofe the Hatches joyn, and how
they are laid, and which way the light falleth ol cometh ;
the light muft fall all one way, for i£ the light hll fide way es
itL->yom print, you muft hatch the other fide w7hich is far-
theft from the light darkefi, and fo place your lights alto-
gether on the one fide, and notr" confufedly to have the light
come on both fides alike, as ifif flood in the midft of
many lights, for neither doth the light withall its bright-
nefs illuminate any more then thairpart that is direBly
oppofite unto it, then obferve exaBly how clofe all tho
Hatches\oyn, and how they are laid, and which way
they twifl and Wind, then_> follow them as exaBly as po[-
fibly you can, but before that you begin to Hatch or
(hadow, you muft draw all the outmojl lines with a i^Qedk

C c upon*

102 The Art of Etching,

upon the ground, as Artificially as you can • and theh->
you muft fhadow it_> with your Js(eedles of feveral/ortx
according to your principle, and when you will make
abroad ftroak^ then break offthepowf of a great 3\(eedle
and whet if upon an Oyl ftone four fquare untill it comes
to 2u point; and if you will hatch fine flroafq , then you
muft ufe fine pointed fJ\feedles •, and if middle fi^es , then
break off the point of a w/7/<//e ^ f\eedle, and »/>« it as
aforefaid, and fo according to all/%*. But fomo
z5\4aflers when they make a bold ftroah^ hatch it fine at firft,
and fo by degrees make them broader.

il\feceffary Obfervations in Etching Lands/qps.

Obferve when you Stch Landslips, to make ol hatch
that" which isneareft to the Eye darke/l, and fo let ic
lofe or decline its fhadows by degrees, and that which is
furtheft off muft befaime/l, and fo lofe equally by de-
grees ; the fame Obfervation muft bo in making the
Skje, foL that which is neareft to the Eye muft be the
darkeft/hadowed, but in general as faint and jfoft as pofli-
ble, and foalfolet-'it/o/e by degrees as before is men-
tioned, and the nearer theSk[e cometh to the ground,
the more it muft lofe and be fainter-, but when they as
it were meet together the Shje muft quite be loft, and
when you have hatched it as exatlly as you can pofiblj with
your JS^eedles, according to tho print or drawing, that"
you doit after; this being done, compare them exaBly
and judicioufly together, and if you find ir like the ori-
ginal, take fome green foftwax, and make a "wall round
about the edges of the Plate.

How to make the Wax wall round about the Tlate, to hgep the
<iA([ua fort is from running off from it.

Take fome ^rcenfoft wax and temper it till i t-> be warme ,
then_> draw it into a long fender roul as long as will reach
about the-? Plate, then fat it and faften ic about the edges
of the Plate, and let it be about half aninchhigh, then

take

The Art of Etching. 103

take an bid knife and heat it in-> the /re, andy^r the to
round about under the P late very clofe, other wife the
^Aqu^fortis will run out, but be lure to fallen the wall
as near to the edges of the Plate as you can convenient-
lv, then-j pour the ^W»rto upon the Plate, letting
it lye till it be deep enough.

How to ufe the Aqua-jfortis on the Plate.

You muft ufe fingle Aqua—> finis. Take a quantity of
Aquafortis and pour it into zglafs and mingle it with u
little Finegor to weaken itif it be tooy?rc/i£, or a littlo
Aquafortis which hath been ufed before; for in cafe
the Aft*-, finis work too ftrong, it will make; the wor(
very hard, and fometimes make tho ground to break
up; and when-, you have temperedit very well, poure
it upon.; the Plate almoft as high as the wax-wall; the deep-
er the Aqua fonts lyeth, the harder it will eat, andwhen_>
youperceiveit tobzjdeep enough, pouroffthe Jp*
fortis from-, the Plate into zglafs, and prefer ve it to
«i«^with other asaforefaid,- this being done, take
fome fair water and wa/h the Plate, and then_, take off
the vox- wall and preferve it for, the fame ufe; again;
thenwarme the Plate and takeac/&w linnen rag when il_>
is indifferent warme, and rub off the^roWfrom_>the
Plate very clean, then take lomeQ>/ and rub over, the
Plate to clean it, and if you perceive that" the Aqua for-
tif hath not eaten zs deep in fome places, as it should be,
then it muft be helped with a grayer.

Obfertations by which you may know when it is deep enough.

When_^ the Aqua fortis hath lain wpon the Plate a
little; more then a quarter of an hour, or kalfuLj hour,
there being no certainty in time, becaufe fometimes
the Aqua-, fortis will wotk ftronger then at another-,there-
fore when you thinkit is deep enough, pour off tho
Aquafortis from the Plate, into zglafs, then rvajb the
Plate with zlittlc fiirwater, then take a /(«//* ^d fcrape

Cc 2- off

104 The Art of Etching,

off a little piece of the ground where if is batch* and
may be leaft prejudicial to tho Plate, and if you
perceive it not to be deep enough,take a little candle tallow
andme&it-in n/poon, and while it is warm, take a pencil
and cover the plate with it , where you [craped the ground
off, then pour the aquafortis upon it again, andletit
lye till you guefs it to be deep enough; then poun, the
Jqua~> fortis from the Plate as aforefaid, and at any
time when you perceive that-; the <lA qua fortis doth not
T»or\Jlrong enough, you pour off half the old, and re-
fresh it with fbmewflp, for when the oAqua-j fonts hath
been_j upon the Plate about half an hour, it will bo
much the weaker, becaufe the flrength of iV doth evapo-
ntfoaway, and by a little praff/Ve you will como to
the certain knowledge when the Aqua fortis hath eaten deep
enough.

Another "way to kpow when it is deep enough.
Take a little piece of a Off&fkte* and Jay a ground
upon it as you before mentioned, and make a^ wax
tpaU about it, then hatch it with feveral hatches as you
think beft, and when you pour the Aquafortis upon
the one, pour it upon the other, and when you think
they be eaten deep enough , pour the Aqua fortis from-,
the little Plate, andm/bit with {omefairwatergLS afore-
faid, then take a Kjiife and [crap^j off a little piece of
the ground from tho little Plate where it is hatch, and
in cafe you percieve it nof deep enough , cover the
pUc^j again with fome toarme candle talloto, and then pour
the Aqua fortis upon it again till you guefs iL_> be e-
nough, then pour the Aquafortis from the little Plate
again, and try as before, and if you fee it to be enough,
pour^r the Aqua fortis from the great Plate, and wafh if
with a little fair "water before you Tvarmit, or_,elfe the
zAqua fortis will flain the Plate.

The Art of Etching, iof

^A Way to lay a white (ground upon a "Blacl^.

Firft you muft under/land that moft grounds are SUck%
and when you lay white ground upon&black you muft
not fmoa( the fc^with a Lin^ and you muft lay the
undermoft ground the thinner, when_* you lay a white^j,
ground upon it > and if you would lay 2u white groundup-
onsumackj take a quantity of Serice, as much as you
think will cover the plate, zndgrindit very fine withgum
water, and temper it very thin, then take zpenciimd wafh
the plate all over very thin and *w«.

T^e way to lay a redCjround upon a blackGround.

Take the red Cbalk^zndgrind it-1 very /fwc withgum water ^
then_> take a pr*«y % pencil, and »w$ the />/**£ all over_»
with the tedground very thin and [moothi as before men^
tioned.

d>/ %eceiptfor aground taken out of a Manufcript 0} Collots.

Take a_; quarter of a pound oiVirgins wax, and half
a quarter of a pound of the beft ExpohunL^ burnt of Amber*
and half a quarter of a pound of z5Maftic\{£ it be warm
Weather, becaufe it doth harden the ground and preferve'
it from injury, when you lean with your hand hard upon
it j if it be cold weather, then take but an_» ounce of
9?Ma(tickj this being obferved, then take an ounce! of
'Rpfin, and an ounce of Shoomakgrs pitch, and half an_>
ounce of other pitch, half an ounce of Vemifb ; having
all thefe materials in readinefs, take a new earthen pot*
and put the Virgins wax into it j and when it is melted*
ftir it about, and put in the other materials by degrees as
before mentioned* and when they are throughly ming-
led and melted, take the pot off from the fire and pourit^
out in a clean pot of fair water > and work, it into a "Ball, and
preferve it from dujl zndgreafe, and when you have oe-
cafiontomake ufeof it, take a quantity thereof and
£/Witup in a piece o£Sil/^, and make ufe of it as be^
fore mentioned.

Dd Thi

106 The Ait oi Etching.

The Ground of %inebrant ofR'me.
Take half an ounce of ExpolturtLj burnt of Amber, one
ounce of Fir gins wax, half an ounce of z5A4aJiicl^,
then take the tSWafticfond Expoltum, and beat them
feverally very fine'm a Mortar; this being done3 take a
new earthen pot and fet it upon ^Qoarcole-fre, then pur"
the Virgins vvax'mto it zn&melt it, thenshake into it the
eSM a/lick and Expoltum->by degrees, ftirring the Wax a-
bout till they be throughly mingled, then pour it forth
into fair-water and make a Ball of it, and life it as before
mentioned, but be fure you do not" heat the plate too
hot when-* you lay the ground on it, and lay your blacky
ground Very thin, andthe^teprwWuponit, this is the-?
only way of\Rincbrant.

The way toprejerme any (f round, which is laid upon

a Tlate in Fro fly weather.

Take the plate zn& wrap it very warm in a wollen cloth ,

and lay it-? in the warmed place you can convenient,

for if the frofl is gotten_^into the^roW, it will break up

when you pour the Aquafortis upon it.

<sJ[ way topreferve the Tlate from injury of the Aqua->
fort is, where the (ground breaks up.
If you perceive the ground to break up in_^ any place,
pour off the lAqua-jfortisfnom the plate and wafh it with
a little fair water, then take a quantity of C*ttdk tallow and
melt it in_^a froon, and while it is warm take a. pencil and
cover the Plate which is brokero up with the faid
tallow, and fo far as thz_j tallow is fpread, the zJqua fortis
will not eat 5 fome make ufe^ of Fernijh inftead of tal-
low, and when you have covered the place that is brok-
en, pour on_j the Aqua— fort is again, and let it lye upon
the plate till youguefi it hath eaten-; enough ; then pour
the zAqua jortis frora^ the plate and preferve it, then_>
takethcu wax Wall and preferve it alfo, and wash the
plate with a little fair Water, then_j rub offyour^ro««^

as

The Art of Etching. 107

asaforefaid, and for the places which thzj ground broaf^
up in, it muft be helped with a (fravcr.

Therefore it will beneceffary for one that de/irethto learn this Art,
to PraB ice graving a little, fo much as to help a froakjphere you thinly
convenient.

<lA may t» make the Aquafortis ivorkjoft or hard
according to nature or art.

Firft take (jmdk tallow and melt i t i n lufioon, then with
a pencil cover that placo fo far as you will have it to
be faint, but note it muft be after the Aqua^fortis hath
lain upon your platean indifferent^ while, and fo by
degrees you muft ufe the tallow as you would have it faint-
er,this is very neceffary when you Stch Landslips, which
muft lofe and ftand atadiftance^? by degrees, therefore
when you Stch Landslips, obferve to ftop off that place
firft which muft be fainteft, andfo by degrees ftopit^
off, and make it lofe equally $ and note the nearer^ you
come to the Eye, it muft bo jlrongeft and darkgfl Jhaded,
but not on that fide from whence the light cometh
for that fide muft be preferved as faint as may be, but
according to art.

Obfervations in Etching ProfteBive.
Proffeclive is a thing thaf is one of the difficulteft
cArts thatr' is prac"tifed ; becaufo it is not^ rightly
under flood , bur_; by good oAritbmeticJ^ -, otherwifo
you can never under/land proffeUive , becaufe you can_;
never guefl rightly how much a Pillar or Figure, or the
like muft decline t ox lofe at their feveral diftances, ac-
cording to aArt and Proportion • Fod when you Etch
a_> piece of pm&eBive after a drawing or a print, ob-
ferve thefe Rules, beware ofperfeBwn ar_> adiftance,
and be fure to fhadorp that which is neareft to the Sye >
perfeclejl and ftrongejl, and the farther from_> the Sye, it
muft decline in length and breadth, and heighth accordi ng to

Dd 2 Art

108 The Art of Etching.

Art and Troponion, obfervo alfo to let it lofeand bo
fainter by equal degree?.

Add ay to (prate any band or letter upon a Copper Tlate.

Take fome £barcole and kindle them, then tako a
hand-Vice and (crew it to the corner of the plate }a.nd hold
it over_- the fire till it be warm, then take a piece of
Virgins itax, and rub it all over, the plate untill it is co-
vered every where alike; this being done, take a
Jliff feather of a 2)«dy toing that is nor" ruffled, and drive it
even and fmooth every where alike, and let it coole,
then write the hand and letter which you intend to grate
upon thcplate, on a piece of paper with ungumdlnkj then
take the paper which you have written, and lay that
fide which is written downwards next to the wax,and
fatten the four corners with a little [oft wax, but be fure
to place the writing fo , that the lines may run
ftraight, then you mult take a T>ogs Tooth, and rub
the paper all over which is fajlned, and not mifs any
place; this being done, take off the paper from^ the
f/^C-?and you shall fee the very famo Letters which
you wrote on the paper hath leff their perfeB imprefiion
upon_>theMvzx; then take a Stift and draw allthe Let-
ters through the wax upon_>thep/^, and when you
have dono that, warm the plate, and takc&linnen rag
and rub the wax clean off, and you shall fee all tho
Letters drawn-; upon the Copper, then get fome good
French (praters and grind them, as they should be^> very
(harp towards the points upon-; atfrind-ftone, and after-
wards whet them very fmooth and sharp upon a good
Oylflone, then (frame the Letters with them.
the toay to polifh a Copper Tlate.

At firft you buy the Copper rough, then you have if
planijhed, if you cannot do it your felf; when if is
planished, then you polish it with thefe following Inflm*
ments.

The

The Art of Etching. \og

The J\fames of the Inflruments or 'Tooles "which areufid
topohfo a (popper "Plate.

A "Plain which cuts very well, and of an_j indiffe-
rent^ bigne[s, but not broad; fome pieces o f 'pumice- /tones
fome pieces o^Sand-jlones, and fome <i5\doukon-flones \ a
foff_; blew jlone, and a humijher and [crapers and fomo
Qharcok.

Theufe of every particular Tool or Inflrumenti

Firft faftenyour "Plate with fome fmall J\(ails, to a
place that is as high as your middle ; then_j make ufe
of the plain to shave all the roughnefi off from_> it and
make if very even in all places alike, and if you per-
ceive any crack[es or little holes upon that fide which you
Jhave, then you mufti« them all clean out, and when
you have shaved it even and fmooth with the plain, then
take apiece of Sand-flone, zndwet the plate with fomo
water, and rub to and fro with the Jlone upon the plate ,
till you have worn it very fmooth and even every where*
alike, bur' be fnreto choofe the fofte/l jlone s, becaufe
they make the lead [cratches ; and when you have worn
it even and fmooth with this Jlone , wash offthe find f ronl
the Plate, and take a piece of "Pumice fton<i_j> and rub
to and fro upon the Plate, quite a crofs the grain of
the former jlone, becaufe it is of a hard fandy nature ,
and will therefore leave fame feratches ; therefore the
"Pumice Jlone is of a more fofter mdfpungy nature and is
alwayes ufed to ware out" the formers [cratches : and
when you have worn out all the former [cratches, you
Will perceive theplateto be worked into a .finer grain ,thcn
Wash the [and very clean off from_> the plate, • then
make ufeof the moulton /lone, and ftw7^ with it quite a-
crofs the grain of the "Pumice /lone, untill you have mwv*
it quite out, withall befure you fupply this and all
the other flows with water, when you work with them
Upon the plate, and when you have worn out all the

E e [cratch*?

iio The Art of Etching.

[cratches of thcTumice jlone clean out, then for the fourth
makeufe of the [oft blew flone, it being of a very [oft grain
and fofter then any of the former; then work with
that quite acrofs the grain of the Moulton-flone, till the
grainis worn out, but if you perceive any [cratches in the
plate here or there, rub them over with your_. burnisher
till you have work't them out, but in cafe they are
very deep, you muft mako ufe of your [craper, and
[crape them out , and bumijh them afterwards ; this be-
ing done, in the fifth place you mull bumijh it all o-
ver ,• lad of all take a charcole which is throughly
burnt, and for ape off the %me ; then put it in the fire till it
is throughly kindled, then take it out and quench it in_»
Chamber Lee j and make ufe of it as of the former, till
you have gla[ed the plate -, then wash it very clean with
fairwater} and let it dry.

The Maimer or Way of<i5\£e%o Tinto.
T^Irfl tal^e a very well polijhed Tlate of Copper, andrujfen it all over
•*■ with your Engin one way, then crofshover with the Engin a-
gain, and if you find occafion, then cro[s it over the third time, untill
it be ruff ened all over alike ( that is to Jay) if it were to be_j printed, it
would print blacl^all over-, this done, tak^Charcole orblack^Chal\to
rub oyer the plate •, and then draw pur dejign with white Chalkupon
the plate, then take a [harp Stift and trace out the outlines of the defign
y ou drew with the white Chalky , and where^j y ou would have the light
ftril^flrongefl,takgaburnifher, and bumijh that part of the plate, where
youWouldhave the light Jlrike as clean as it was when it was fir jl poll-
/hed-y where you would have the fainter light, you mufl not polifh it
fo much, and this way you may make it either fainter or fironger, ac-
cording to your fancy. As for the manner or shape of the Engin ,
they are divers, and if any ingenious perfon have a defire to have any
made, the Author will give them farther directions.

FINIS.

The Artof Miniture or Limning.

Of the colours to bcufed in Limning.

The way and manner of preparing colours.

Of white Lead.

Colours to be washed and Hovv.

Of Colours to be washed.

Of Colours to be ground.

Of the Nature of Colours in general

Obfervations in grinding.

To wash Bice.

How to choofe your pencils.

To prepare a Tablet to work on.

The ground colour for a Face.

The Order ofshadowes for the Face.

TobeginnaFace.

The Order to be obferved in drawing by thelifs

A Table of the Contents of this Book.

OF the Vertue and Praife of Proportion or Symetry. pa» j-o

Of the Neceflity and Definition of Proportion. ♦

Of the Head in f orphile or Side-vvayes. ,- ■

Of the Fore-right Face. 7>

Of a Head in Fore-shortning. Ibid.

Of the Side- Face without any Meafure. £

Of feveral Obfervations in drawing a Head after the Life. o;

Of the Proportion of a Man often Faces. Ia_

Of the Proportion of a Mans Body often Faces. ic„

Of die extravigant Proportion often Heads. Ibid.

Of the Proportion of a young Man of nine Heads. I(j;

Of the Proportion of a Man of eight Heads. 18.

Of the Proportion of a Mans Body of (even Heads. • i^

Of the Proportion of a Woman often Faces. z©.

Of the Proportion of a Woman often Heads. Zu

Of the Proportion of a Woman of nine Faces. xt.

Of the Proportion of a Woman of nine Heads. Ibid.

Of the Proportion of a Woman of feven Heads. 2,3.

Of the Proportion of Children. Vb\d.

The Definition of Painting. ""' x.

Of the Vertue of Light. ,.

Of the NecefTity of Light. »g^

Of the Nature of Light. ^Qt

Of the Vertue and Efficacy of Motion. . j

Of the NeceiTity of Motion. <g#

Ofthe Pailions of the Minde their Original and difference. cy„

How the Body is altered by the pafhons ofthe Minde. rg.

Ofthe Motions procured by the feven Planets. jg,

Ofjupiter. j9#

OfMars. <j0.

Of Sol. Ibid.

OfVenuy. $u

Of Mercury. foy

OfLuna. ^i.

How all the Motions may accidently befall any man though dif erfly. £4.

Of Divers others NecefTary Motions. 6j.

Ofthe Motions of all forts of Cloth or Drapery. 71.

Of the Motions of frees and other things that are moved. 74.

The Contents

Concerning dead Colouring. Ibid*

Thefecond work of Limning. 8f.

The Order of Limning in rhe fecond fitting. 86.

A Crimfon ground. 87.

The manner of finishing at the third fitting. 88-

Concerning Ornaments. I bid.

A Receipt to make Liquid Gold. , 89.

OfLandskip. 90.

A Dark Green. 91.

A rare fecret to prcferve Colours. Ibid.

. Some general Oblervations inMiniture . Ibid.

To make Crayons or Paftiles. 91.

To make white. Ibid.

To make whj te Lead. Ibid.

To prepare a Card for a Pi&ure. Ibid.

To prepare white excellently. Ibid.

Concerning Wax work or Moulding. 93.

To caft in Moulds. 94.

To counterfeit Roch Candid fweetmects. 9j.

To counterfeit Pearl. Ibid.

T he manner how to draw with Indian Ink. Ibid.

How to prevent your Colour from finking 96,

The manner how to draw with water colour upon fattin. Ibid.

A farther ohfervation in Grinding. Ibid.

How to prepare Umber. , 97.

The grounds and rules of Etching. Ibid.

The Inftruments with their particular names to Etch vvithall. 98.

Tne life and property of every particular Inftrumcnt. Ibid.

The manner and way to make the ground. 99.

A red ground. Ibid.

A vvbiteground ipo.

A black ground. Ibid.

Another ground. Ibid.

The manner and way to lay the ground upon the Plate. Ibid.

ri he way to draw the out lines of any drawing upon the Plate^ I8I-

Several oblervations in Hatching. Ibid.

Neceflary oblervations in Etching Landskips. 102.

How to lay a wax wall upon a plate. ] bid.

HowtouleAqua Fortisonthe plate. 103.

Oblervations by which youmay know when it is deep enough. Ibid.

Another way to know when it is deep enough. 104.

Away to laya white ground upon ablack. ioj.

A way to lay a red ground upon a black. Ibid.

A receipt for a ground take n out of a Manufcript. Ibid.

Thcgroundof Rinebrant ofRine. i0£.

'1 he way to prcferve a Ground in Frofty vvcath er. Ibid.

A Way to prefcrve the Plate from injury. ]bjtl_

A wayto make Aqua Fortis eat loft or hard. 107,

Oblervations in EtchingprolpeiYive. Ibid.

A way to grave any hand or letter upon a Copper Plate 108.

Thc-way to polish a Copper Plate. Ibid.

'I he'Mamesofthe Inftruments ufed to polish. 10^

The ufc of every particular tool or Inftrument, Ibid.

The manner or way of Mczo finto- . no.

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